In Purple Hibiscus, religion as a motif plays a crucial role in the lives of the characters. The strict, confining rules of the Catholic Church are echoed in the walls of the household, where every minute detail of life is outlined with duties and responsibilities. Religion, which creates a restricting and suffocating environment is contrasted with the purple hibiscus, which Adichie uses to symbolize “freedom to be, to do” (16).
The novel is told through the eyes of Kambili, a 15-year old girl who narrates how Father Benedict usually refers to the “pope, Papa, and Jesus—in that order.” It is in this line that Adichie makes reference to the Holy Trinity—the father, the son, and the Holy Spirit, indicating that Papa is perceived to be more than a mere man, not only in the eyes of Kambili, but in the eyes of church, and therefore, the community at large. Father Benedict uses Papa’s actions of making generous donations to Peter’s pence and paying for cartons of communion wine as “illustration[s] of the gospels” (4). This seems to parallel the abuse of indulgences, a major point of contention for Martin Luther, the leader of the Reformation during the sixteenth century in Europe. Back then, the church would grant remission of punishment for sins upon receiving monetary gifts. In the same light, Papa seems to be “buying his way into heaven,” even though he ironically places himself above mortal sin.
Interestingly enough, the importance of religion is reflected in how Adichie presents the novel to her readers. She divides the novel into 3 sections: Palm Sunday, Before Palm Sunday, and After Palm Sunday. Palm Sunday is a Christian holiday which celebrates the entry of Jesus Christ into Jerusalem, a week before his death and resurrection. Because it is apparent that Kambili’s life is centered on her father, Adichie seems to be foreshadowing the death of Papa, and hinting at how the lives of her characters will change as a result of their newfound “freedom to be.”
