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Akwaeke EmeziA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Part 2 opens with an epigraph written in Igbo that means that someone who “kill[s] me” will ultimately kill themselves. Emezi writes this section in the first-person singular from the perspective of Asughara, a singular ogbanje in Ada’s mind alongside the others but acting as one. Asughara is born out of necessity—through her, Ada can avoid experiencing and reliving the trauma that Soren inflicts upon her. Asughara is cruel, cunning, and forceful. She feels that Ada is hers in every way that matters. As opposed to Smoke and Shadow, Asughara feels excited to have inhabited a body, spinning around in the marble room of Ada’s mind. When Ada calls her friend who tells her to ask for Christ’s forgiveness after being raped, Asughara wonders why Ada needs forgiving and concludes that she is better off with only Asughara. She pities Ada, watching her sob and bleed from thorns that have cut her arms, and she tries to save her in the way that she feels is most effective: utter carelessness.
Soren continues to rape Ada, but Asughara vows that Ada will never be present while having sex. Asughara views Soren’s fickle emotions with curiosity—he is angry one moment, controlling the next, and claiming that he is in love the next. She sees him as a stupid human and uses Ada’s body and face to control his emotions. Once, when he says that Ada is looking at him the way his mother does, Asughara admits that Ada must have been using her own body.
At the end of the school year, Ada goes to Georgia to stay with her friend Itohan. She cuts off all of her hair in part to mourn her past self and in part to celebrate the newest birth. That summer, she talks to boys on the phone and eventually breaks up with Soren. Ada changes—she behaves and looks differently.
Ada’s mother, Saachi, notices that Ada is not the same; she’s not happy, and she’s not eating. Asughara restricts Ada’s food consumption as a form of control, pushing the limits of the human body, but she admits that Ada was doing this before Asughara arrived. Asughara assumes that it is some grasp at controlling her body because Ada knows that she cannot control her mind. Asughara remains grateful for Ada’s body. She feels unique and free, like a human, rather than trapped like the other ogbanje feel. Ada loves Asughara because she is strong, fearless, and holds her together, and Asughara loves Ada because she gave her life.
Chapter 7 opens with an epigraph explaining that ogbanje do not operate by human notions of good and evil and cause harm for no reason. Asughara expresses how important Itohan and her family are to Ada in order to emphasize the harm that she causes through and for Ada. Asughara knows that she was born of trauma, “baptized in blood” (76), and her hunger and selfishness are inherent. Using Ada’s body, Asughara sleeps with Itohan’s younger brother all summer. Itohan’s family never notices a difference between Ada and Asughara, which offends Asughara because she is being mistaken for a naive human, while, in reality, she is ruthless and shameless. She admits her selfishness and acknowledges the confusion that Ada feels in having to share her own body, but Asughara does not see it as her problem. Asughara wants to fully inhabit a human body, experience human feelings, and control other humans without feeling human feelings and pain and consequences.
For example, Asughara uses Ada’s body for sex—to feel full and alive, rather than good—and leaves Ada to deal with the issue of pregnancy. When a woman at Planned Parenthood makes a judgmental comment, Asughara makes the choice not to go back to the clinic in order to protect Ada from these comments. Asughara admits that at times she fails to protect Ada.
One day, Itohan’s mother walks in on her son and Ada cuddling. With the Bible next to her, she warns Ada that she should never share a bed with a man unless they are married. Asughara laughs at the woman’s stupidity but envies the innocence and ignorance in which she lives. For the second time in her life, a boy begins calling Ada his girlfriend without consulting her. When she returns to school, she openly tells her friends that she was having sex, and they say that she seems different. Asughara begins to doubt how much control she has over Ada.
Asughara tries and fails to understand Ada’s previous obsession with Yshwa. The obsession died when Asughara was born. After what happened to her, Ada has too much shame and too little forgiveness to go back to him. No matter his teachings, Ada cannot believe that she could ever be forgiven for breaking her vow of abstinence. Yshwa, in contrast, never gives up on Ada, but Asughara chases him away. She throws darkness at Yshwa and he lets it slide off of him, offering back only love. He reminds her that she is the thing of which Ada is ashamed, but he loves her anyway.
Chapter 8 is once again written by Ada’s original two ogbanje, Shadow and Smoke. They explain that they remain there even in Asughara’s presence, just in the background. They provide some background on their world of gods.
They explain the history of spirits inhabiting bodies and how others with gods within them can smell their presence in Ada. Malena, a Dominican student at Ada’s college, is also inhabited and sometimes disappears when her inhabitant takes over. Despite the fact that Malena’s gods are different from Ada’s, she receives a message that someone on the other side wants Ada. Later, she tells Ada that she saved her life when she got word that Ada would try to kill herself. The ogbanje, like Ada, love Malena. They love her for protecting Ada but also for acknowledging their presence. They want to be seen, heard, and felt by humans, even though humans are irrelevant to their life on the other side.
Chapter 9 is the first time that Emezi writes from Ada’s perspective. The chapter begins with Ada confessing that she struggles to tell this story and that whatever the ogbanje say is the truest version of her life. Ada is aware of all that the ogbanje have expressed in previous chapters, yet she has a greater stake in the course of her own life. Her relationship with Ewan, her husband, a man she loved, was doomed from the start because it existed between a human and a god. She says that she felt pain in this, but there is a difference between a god’s pain and a human’s. At the end of the chapter, Ada says that she’s been caught talking like the ogbanje. She says, “In many ways, I am not even real” (95).
Chapter 10 returns to Asughara’s perspective to explain Ada’s relationship with Ewan. Asughara was not there when Ada met Ewan for the first time because she hadn’t been born yet, which gives Ewan a kind of separation from her that she respects. Ada and Ewan had a normal romance at the beginning, including flirting, sharing music, confusion, and infatuation. In a diary entry, Ada writes about how she felt alive with Ewan, but she is now coming back down to reality. Their romance was paused, and, later, when he reappears, Asughara demands to know who he is. She knows from Ada’s memories that being with Ewan felt like being high, so she selfishly wants to experience that. Nevertheless, she leaves Ada to experience Ewan for herself. This separation from Asughara is possible in part because Ada and Ewan have not yet kissed. He has a girlfriend and he’s cheated before, but he likes Ada too much to keep emotions out of it. Ada and Asughara agree that they do not need anything from him, so there is no harm in continuing. In this conversation, Asughara defers to Ada’s judgment in whether to stay with Ewan.
Eventually, when Ada and Ewan have sex, Asughara takes over, fulfilling her promise to Ada. She becomes annoyed with Ada’s developing love for Ewan because she was enjoying the process of uncovering his dark side. When Ewan tries to talk about their situation, he instead finds Asughara poised to dismiss his feelings, confessions, and concerns. Ada tries and fails to come to the surface to communicate with him herself. Asughara explains that when Ada is drunk, Ewan and Ada become closer to each other, more in balance. Ewan drinks and smokes constantly. Making her way past Asughara, Ada confesses that she loves him. He doesn’t say it back, but soon they discuss what their children would look like.
Any heartbreak, change in hormones, or substance affects the delicate balance between Asughara and Ada. Ada copes by smashing mirrors, burning her skin with cigarettes, and cutting her arms. Ewan breaks up with her, citing his girlfriend back home who makes him happy. Once Ewan ends things and insults her, Asughara goes for any man she wants. She tries and fails to seduce Itohan’s older brother. Asughara somehow knows that she has taken it too far.
Back in the perspective of the ogbanje, the reader is introduced to Saint Vincent, who accompanied Asughara into Ada when Asughara was born. Saint Vincent is gentle, soft, unplaceable, strange, and usually shows himself in dreams. In Ada’s dreams, he morphs her body into one with a penis and creates other bodies with which to experiment. Asughara takes control and inhabits Ada’s body while Saint Vincent keeps to himself and plays in her mind. Saint Vincent reminds the ogbanje that Ada was often mistaken for a boy as a child and enjoyed it, explaining that “the wrongness was right” (120), but when she reached puberty, she was no longer able to embody whichever gender she chose.
When the ogbanje feel trapped in her body, begging to be let out, Ada satisfies them with short-term blood sacrifices. They explain that even before Saint Vincent was present, he was in some ways present. He brought masculinity and a different kind of hunger for Ada. Ada tries to tell a friend about Saint Vincent, but, upon rejection, Asughara intervenes and promises never to tell anyone about him again. The brothersisters of the ogbanje are slowly gathering and applying pressure, waiting for their debt to be repaid.
Asughara is visited by her brothersisters. Two horrifying creatures with sharp teeth and rotating heads appear to her. Their presence terrifies her, but she eventually laughs because she recognizes herself in them. The brothersisters accuse her of joining forces with the humans. They tell her that she smells like flesh. She is offended and becomes defensive. They say that she chooses to stay there, and she argues that she did not choose this fate. Her brothersisters insist that she wants to be there, and she feels pain, almost crying. They ask where her loyalties lie, and she says that it lies in them, but the truth is that she cares for Ada. She stays in this world for her, loves her, and wants to protect her. She is not only there to cause harm.
The brothersisters cite their pact for the ogbanje to return, and they recount her hatching story. They force her to remember her past, which was a painful experience for her. They continue to blame her for opening the gates and leaving them open. They criticize her for leaving in the first place, staying there, leaving their home in Nigeria, and not listening to them. She remembers the comfort and freedom that she felt when she was home with her brothersisters. After their visit, Asughara has a new drive to fulfill both of her obligations: Protect Ada and go home. To end Ada’s pain, she can convince her to kill herself. If she does this, Asughara can go home to her brothersisters.
This section portrays Asughara’s perspective. It becomes her story as the narrative perspective parallels the extent of her control over Ada’s life. Ada herself speaks once, carefully and timidly, in Chapter 9. In this chapter, she defers to the ogbanje to determine the truth of her life. This deferral speaks to The Lifelong Impact of Trauma. When her life is too painful for her to feel, she passes the truth to a cruel being like Asughara rather than feel it herself. The consequence, however, is that they know the truth of her life better than she does. Asughara controls her body knowing that Ada is too weak to face what Asughara is able to face. Emezi therefore makes every narrator in the novel unreliable in order to narratively reflect the destabilizing experience of trauma.
Asughara is characterized by this unreliability and instability. She acts like she only wants to experience flesh and cause harm, but, at times, she admits that she cares about Ada. Emezi relates this indirectly at first: Instead of filling each of Asughara’s chapters with her own thoughts and hungers and conquests, Asughara explains Ada’s love for Ewan and Yshwa. She pities Ada, calling her “poor girl,” and asks herself why she should “disturb” Ada with Yshwa “if it was giving her so much pain” as she feels the shame of her vow of abstinence being broken (66). Later, after Ada names her, Asughara asks, “Wait, is this how humans feel? To know that you are separate and special, to be individual and distinct? It’s amazing” (72). Her naming empowers her to act as an individual, and Asughara begins to explicitly love the experience of being human. Since Asughara was born from trauma, this character development reflects the experience of healing from trauma.
Like the other ogbanje, Asughara speaks directly to the reader in a casual tone. She uses phrases like “let me tell you,” “just minding my business,” “I can’t lie,” “I told you,” and “sha” as an interjection in her narration (69). Her casual tone and qualifiers that swear that she is telling the truth imply that she is trying to minimize the intensity of her traumatic actions. She desperately wants to believe she is good for Ada, so she tries to convince others the same thing. This casual tone juxtaposes with her actions and drive, and the contrast makes it clear that she is a force to be reckoned with. Where Ada is unsure of her story and truth, Asughara is so convinced of her own story that she refuses to acknowledge another option. She also harks back to Ada’s happy childhood memories, saying that she “moved like those masquerades from her childhood, with meat layered in front of [Asughara’s] spirit face” (73). She compares herself to these people to pretend that she is dancing, having fun, and making Ada happy, but she betrays herself by using the word “meat” to describe Ada’s body, thereby denying Ada agency and referring to her as though she is something dead, to be consumed. Instead of using Ada’s face to hide her spirit, she is using “meat” to hide her spirit face.
Asughara never loses the knowledge that Ada is a python, a child of Ala. She acknowledges that there should have been a regular shedding associated with this identity, but she was not allowed that regularity and was therefore forced to be ruthless and cruel. Asughara was born too early and came out “damp with blood” (73). This early molting emphasizes the fact that Ada was not ready yet: to have sex, to have another birthing, or deal with the pain. Asughara also describes herself as a “child of trauma” who was “baptized in blood” (76). Even though Asughara wants sympathy and understanding, this baptism shows that she is the foil of the loving and forgiving Yshwa—since Christ is baptized in holy water—to emphasize her destructive and unforgiving characteristics. In what is supposed to be an innocent, joyful, and vulnerable moment in a child’s life, she instead emerged soaked in blood and pain, forced to step forward when no one was ready.
Chapter 12 also humanizes Asughara. When her brothersisters force her to remember her past, she compares it to a “machete running [her] through” (127). This repeated image of the machete, which Saul also used to chop Ala to pieces in her python form, symbolizes the separation between the spiritual and the human world. Since Saul reached for a machete in fear of the spirit world, Asughara’s evocation of the machete suggests her growing affinity with the human world. Emezi extends the violent imagery of memories when Asughara says that they “taste[] like if you roasted blood with salt and capped it in a jar, cooked with it, seasoned meat with it, fed it to your lovers rare, red on trembling fingers” (132). Asughara’s life has always been covered in blood, and these memories are no exception. She is tasting meat because that is what humans are made of, in her eyes, and blood is what she intends to draw from Ada.
Her actions in Ada’s life thus far were temporary pleasures, but she is reminded of a more permanent solution. She convinces herself that it is the only option: “[W]hat better protection could I offer her, really?” (133). Emezi combines the rhetorical question with a casual tone to portray the extent to which Asughara tries to convince herself that her interests are Ada’s interests, too.
By Akwaeke Emezi