The Door of No Return

The theme of storytelling’s power and oral tradition is integral to the novel for structure, cultural heritage, and providing life lessons and deeper meanings. This theme is shown from the very start, in which wise storyteller Nana Mosi opens the novel with a tale of the Offin River, its history, and Kofi’s birth. The first story sets the premise, background history, setting, and protagonist all in one. Notably, every chapter in the book begins with a new story, with titles such as “The Story of the Dream,” and “The Story of the Crying Water.” Each chapter uses the consistent words “the story of…” to share the fable with readers. The structure of each chapter begins with a story for the context of Kofi’s life—such as a story about the Big War when he’s excited about the Kings Festival that was a result of the war—provides a deeper look into their cultural beliefs through tales and offers Kofi a story that he can apply to his life. He’s at “war” with his cousin during this story and should learn to make peace. The lessons from the stories, all Asante based and use traditional Asante symbols, help Kofi make sense of his life. For instance, the story of the drums acts as an effective background context after Kwasi kills Yew, since they all wait for the drums going off to tell them the elders have made their decision about Kwasi’s punishment.

This theme is also key to many characters and their belief systems. Kofi, like all his tribe, deeply values the stories and their storytellers. People like sage Nana Mosi are valued for their storytelling capabilities, respected, and listened to:

[Nana Mosi is] always repeating some things

and pausing at other times,

with a toothy smile

that raises one eyebrow,

right before

the thing he knows

we cannot wait to hear.

Though he is nearly eighty now

and seldom speaks,

when he does,

I hang on to all his words,

the lulls in between,

and I remember

the stories

like a pigeon remembers

its way home (22).

Nana Mosi’s character is the epitome of this theme, since he is known for his storytelling prowess, a leader in their tribe for passing on these important oral traditions. As a way to share truth, impart knowledge, teach history, entertain, educate, inspire, and more, the stories are a means of making positive change. They’re also a means of keeping their culture and beliefs alive, as Nana Mosi says: “We told these stories… [...] to entertain… and enlighten… to preserve our beliefs… and to record our history… for ourselves… by ourselves… [...] There will come a time when you will tell these stories to the ones who come after you…” (338). Like with his many riddles and words of advice, Mosi teaches Kofi and other tribe members through stories. Language is his tool of education and helping others. In a cultural contrast, Mr. Phillip uses the stories of Shakespeare and history of England to educate the children. Though portraying a vastly dissimilar place—England’s society and customs versus Ghana’s—the narratives of places like London or songs like “Twinkle Twinkle Little Star” are indicative of specific area’s lifestyles and values. For instance, while Shakespeare’s works are the norm in England—with elements like kings, queens, democracies, cities, star-crossed lovers, etc. —in Ghana, their stories revolve more around their own history and settings, featuring elements like tribal rivalries, the greed for gold, what the river symbolizes, the Kings Festival peace treaty, etc.

Throughout Kofi’s journey, stories are even a means of survival. Little Owu looks to Kofi for courage and asks him to tell a story. With the inspiration of his grandfather, Kofi uses his imagination to tell Owu the story of Nimdee, the talking goat, and this account is heavily inspired by Kofi’s love for Ama. Kofi gives Owu hope, who asks for the story’s ending later; it’s the last thing he asks for before he dies. Though Kofi’s story didn’t save Owu, it distracted the little boy from the suffering of their lives, giving him joy and entertainment. To highlight this significance, Afua tells Kofi that “stories can heal” (327) and that Nana Mosi trusting him to keep the stories alive is a “big thing” (331). Her dialogue encapsulates this theme.