52 pages • 1 hour read
Beverley NaidooA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Sade Solaja is the story’s protagonist, and the story is told in the third-person limited perspective from her point of view. Thus, the reader knows only what Sade knows, and this helps propel the story’s narrative drama. The text opens with a pronunciation guide that explains that the name Sade is Yoruban and is a shortened version of Folosade; it sounds like “Shad-deh.” Sade’s is the only name that is discussed in this section. Some of the characters in the novel do not respect Sade’s African heritage, and they make fun of her for the spelling of her name. This novel is essentially Sade’s story.
The character trait most central to Sade’s personality is her desire to live up to her parents’ values and principles. This desire creates both internal and external conflict for her, and it is also her greatest impetus for growth as circumstances outside her control force her to make her own decisions about values and behaviors. She is forced to do this because she cannot rely on her parents to tell her how to act because her mother died, and she is separated from her father. Her mother’s death forces her and her brother to flee to England without their father; they navigate life with foster families, a new school, and the asylum process, and fear prevents them from sharing the true details of their life with the adults who want to help them.
Sade’s challenges in managing complex value judgments become evident when she has to deal with Marcia and Donna, two bullies at school. She knows her father values honesty above almost everything else, but she was also taught that as the oldest she has some responsibility for her younger brother. These two values come into conflict with each other, as she has to choose between stealing to satisfy the bullies and protecting her brother. She desperately wants her parents to tell her what to do, but she has to make the decision on her own. She also has to make her own decision as to how to rectify the problems she caused. These decisions cause most of Sade’s growth in the novel; by the end, she learns how to take what her parents taught her and make her own decisions, using those values and principles as guideposts. In short, she was always courageous, but throughout the novel she also begins to develop wisdom.
Besides Sade, Femi is the character seen most frequently throughout the novel. Because he withdraws from Sade and the other characters through most of the text, he is a flat character; little insight is provided into how or what he thinks and feels. His character’s static nature, however, is a product of the plot. Femi is traumatized, and his older sister is willing to take responsibility for making their situation as good as it can be. This allows him the privilege of withdrawing, which is not possible for Sade and bothers her at times. He remains withdrawn because Sade is willing to take full responsibility for both of them.
While Femi mainly withdraws and remains static, he exhibits bravery and a willingness to step in for his sister when it is really needed. For example, when Sade decides to go to the television station to try to convince a journalist to report her father’s story, he joins her. After he offends his sister, he attempts to give her a comic book as a sign of reconciliation. Femi’s withdrawal demonstrates a realistic way in which a child might respond to traumatic situations. Since the story is told from Sade’s limited perspective, nothing can be revealed about Femi that is not observed or made known to his sister.
Folarin Solaja is an important impetus to the key events in the novel, but because the children are not with him through most of the text, much remains unknown about him. Folarin is a journalist, and his primary loyalty is to the truth. The text eventually reveals that he received death threats from the corrupt Nigerian government but continued to write about injustices.
All that is revealed about Folarin is what his daughter knows. Most of these insights are complimentary to Folarin, as Sade respects him and tries to live up to his ideals: speaking the truth and being brave. Because Folarin puts these ideals above his and his family’s safety, his wife is murdered, and his children have to flee the country. Beverley Naidoo’s novel compliments Folarin’s bravery while also bringing up the question of how far a person should go when their lives or the lives of those they love are in danger. Folarin represents one way to respond to such a crisis.
The main change that Folarin undergoes throughout the narrative is that he becomes willing to set his loyalty to the truth aside when he has to find his children in England. He uses a fake passport and allows his children to do the same. When he comes into England, he does not immediately apply for asylum. Instead, his first instinct is to find his children. Sade recognizes the irony in his arrest for dishonesty when he has such a commitment to and paid such a high price for honesty.
Auntie Gracie and Uncle Roy are Sade and Femi’s foster parents. They serve to provide the children with support while they are away from their parents. They respect the children and do not push them to do more than they are comfortable with. Because they are so kind to the children, Sade feels all the more guilty when she lies to them about her name. This helps build up the conflict within Sade that grows as she has to sometimes make decisions that betray the values she was taught.
Uncle Roy is very interested in learning about Africa because he is Jamaican, and his ancestors were African. Naidoo uses these characters as a tie to Africa for Sade and Femi. Even though the foster parents are not from Africa, they respect African cultures and use them to help the children feel more at home. In this sense, they emphasize the lack of respect other characters show the children because of their heritage. They also illustrate how foreign everything in England feels to the children: The King home is one of the first places the Sade and Femi identify as smelling like home, as Auntie Gracie’s cooking connects them to Africa. Their willingness to have the children call them Auntie and Uncle also demonstrates their desire to make their home feel as familiar to the children as possible, because the children would call such a person Auntie and Uncle in Nigeria.
Marcia and Donna are two bullies at Sade’s school. They serve two primary purposes in the novel. First, they perpetuate Sade’s internal conflict. One of Sade’s biggest struggles is being forced to choose between multiple competing values. Because of Marcia and Donna, she must sacrifice honesty and friendship for her brother’s safety.
The second purpose these two characters fulfill is that they represent outside beliefs and stereotypes about Africans. Nigeria was under Great Britain’s rule until 1960. Still, in 1995, the English children in the novel know very little about Nigeria. They do not understand that Nigerian children speak English from the earliest of ages. Marcia hates African people, so her hatred of both Sade and Mariam has nothing to do with who they are and rests solely on where they come from. Marcia and Donna try to pit the girls against each other, and they try to get Sade in trouble with her teachers. They represent ignorance of and subjugation of Nigerians in particular and Africans in general.
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