![]() The second part of the setup is the incident with Ijeoma’s and Ndidi’s homosexual friends, who were beaten and killed with the police doing nothing about it. However, this does not make the violence any less reprehensible or harmful to the victims, male or female. They are not active combatants, but they still arm themselves, whether due to expectations that they will have to defend themselves or to reassure themselves. However, in the book, it takes on a distinctly male tone, likely due to cultural reasons: “by 1968, our men had begun slinging guns across their shoulders and carrying axes and machetes” (Okparanta, 2015, p. Strictly speaking, war is not necessarily a male phenomenon or limited only to men. As such, the author depicts the changes in the town as it becomes more warlike and prepared to fight. ![]() ![]() Even there, there is always the expectation of either being attacked by the enemy or being sent off to fight. The author uses the mood of the conflict as Ijeoma experienced it from the backlines, where the war never came. The first aspect of the setup for Ijeoma as a victim of male violence is the war that she had experienced when she was ten years old. ![]()
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