What Is An Example Of A Single Story?
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Answers ( 3 )
The danger of a single story
I have been reading the Nigerian writer Chimamanda Ngozi Adichie (1977). I read her novel “Americanah ” , there she shows us the story of Ifelemu, a Nigerian immigrant in the United States full of desires and illusions that lead her to choose options that often make her experience great disappointments and that, on other occasions, give her the energy to get ahead. Chimamanda’s writing is emotional and powerful. Her stories “Something Around Your Neck ” are magnificent and her essay “On Grief” is moving. In some way, her books question the imposition of traditions that women have assumed as their own. We could say that it is a transversal phenomenon in all societies to a greater or lesser extent and with their respective nuances.
It has been a pleasant surprise to meet this Nigerian writer. I was looking for her essay “We should all be feminists”, which had been recommended to me and which she wasn’t sure about reading, when I found her video “The danger of a single story” on the Internet. The focus that this Nigerian writer makes on our interpretation of the historical account and the stereotypes that are created in this regard is fascinating. It is not that it is not true, but that it is generally incomplete.
In a colloquial and pleasant way, Chimamanda speaks to us as if we were having coffee with friends, about a deep and very complex subject in which the environment in which we were born and developed as people is decisive. Each of us lives in a certain culture. We all have a story on which many other stories are built that are part of our lives and that make us see reality from different prisms and perspectives.
The danger of a single story
I tell stories and I would like to tell you some personal stories about what I call “the danger of a single story”. I grew up on a college campus in eastern Nigeria. My mother says that I started reading when I was two years old, but to tell the truth I think she started reading when I was four. I was a precocious reader and read English and American children’s literature. I was also a precocious writer and when I started writing at age seven, pencil stories with crayon illustrations that my poor mother had to read, she wrote the same kind of stories I read. All my characters were white and blue-eyed. They played in the snow, they ate apples, and they talked all the time about the weather, about how lovely it was when the sun came out. This despite the fact that I lived in Nigeria and had never left there: we had no snow, we ate mangoes and never talked about the weather because there was no need. My characters drank ginger beer because the characters in my books did too. And it didn’t even matter that I didn’t know what ginger ale was. Many years later, I felt a great desire to try it, but that’s another story. What this shows is how vulnerable we are to a story, especially as children. Because I only read books where the characters were foreigners, I was convinced that books, by nature, should have foreigners and narrate things with which I could not identify myself. I felt a great desire to try it, but that’s another story. What this shows is how vulnerable we are to a story, especially as children. Because I only read books where the characters were foreigners, I was convinced that books, by nature, should have foreigners and narrate things with which I could not identify myself. I felt a great desire to try it, but that’s another story.