64 pages • 2 hours read
Nikki MayA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide discusses racism, sexual harassment and assault, self-harm, and substance abuse.
This Motherless Land explores the ideas of prejudice and privilege and the way that the two interact. In the novel, every character has some form of privilege, whether it’s related to race, money, social status, and more. Additionally, as characters from different backgrounds interact, they all hold some form of prejudice, making assumptions about each other while knowing very little about them. In this way, the novel examines the interplay between these two ideas and the way that they impact people’s lives.
Central to the exploration of prejudice and privilege are the two protagonists, Funke and Liv, whose experiences mirror each other throughout the text. Since they both come from wealthy families, Funke and Liv are similar in the financial privilege that they have. Although Funke is laden with misfortune in the text—through the trauma of losing her mother and brother and the forced upheaval of her life two different times—she still has a wealthy family in Nigeria and lives off her grandparents’ fortune in England. Similarly, Liv also experiences trauma in the text, as she is sexually exploited by Clinton, suffers from substance misuse issues, and loses her best friend, believing Funke is dead for years.
While their experiences reflect each other, what is important is the way that they respond to their traumas. Funke works harder in both London and Lagos, doing what she can to assimilate and using Grandpa’s wealth to survive, but she is also successful in school and earns a stipend for college. Back in Nigeria, she similarly puts aside her grief to attend medical school in Lagos, ultimately earning a degree and opening her own practice. Conversely, Liv uses her privilege to survive but does nothing in the way of helping herself. She takes Grandpa’s stipend, yet refuses to take housing or a job from him; she does not go to school, insisting that she does not want to be a secretary because that is what her family expects of her. She falls into substance misuse to cope with her trauma and resists treatment for years. These two characters’ different paths highlight the positives and negatives of privilege. While Funke uses her privilege to her advantage, helping herself and others, Liv simply takes advantage of it, failing throughout much of the novel to create her own life and advance herself.
Another key difference between Liv and Funke lies in their experiences with prejudice. When Funke comes to The Ring, she is immediately treated poorly by Liv’s family. Margot refers to her as “half savage” (34), and the rest of the family treats her as if she is stupid, impoverished, and uncivilized simply because of her diverse racial background. Then, when she returns to Nigeria, she continues to be treated as an “oyinbo” or “foreigner,” never truly fitting into Nigerian society due to her accent and the childhood she spent in London (176). In this way, Funke experiences prejudice that Liv never does, which teaches her the importance of privilege and, more importantly, treating others with respect. As a result, she vows to follow her “mother’s legacy” (213), using her medical training, money, and privilege to help those around her just as her mother did.
Ultimately, the experiences of these two characters emphasize the existence of prejudice and privilege within everyone. Ironically, when Funke comes to England, she, too, is prejudiced against her family in London, judging them for their dirty home, poor cleaning staff, and attempts to save money. Then, when she returns to Nigeria, she again judges her father for the life that he lives and is adamant that she wants to return to her life in London, where she assumes she will get a better education and be happier. In this way, May conveys the idea that prejudice and privilege are a part of everyone’s life, but what is important is the way that people minimize their prejudices and use their privilege for good.
As a decolonial novel, This Motherless Land explores the idea of how someone defines themselves, particularly while influenced by their physical movement from one place to another. As an Anglo-Nigerian author herself, Nikki May uses her life experiences living in two different countries to influence her novel, as she admits that Funke’s experiences mirror her own in many ways. First in Nigeria, then England, then back in Nigeria, Funke exists in a constant state of unbelonging throughout much of the novel.
Two important components of Funke’s identity which symbolize her journey of belonging are her name and her hair. The novel is structured in a way that reflects Funke’s changing identity, as her point-of-view chapters change from being titled “Funke” to “Kate,” then back to “Funke.” While in London, Funke acknowledges that “Funke made sense in Lagos but maybe it didn’t work here? Maybe Grandpa was right. Maybe becoming Kate was the way to fit in” (69). Then, back in Nigeria, after Funke swallows the iodine pills and nearly dies, she has a symbolic rebirth. She thereafter refers to herself as “Funke,” realizing that Ndidi, her friends, and even her father are there to support her, and that she can build a new life for herself by attending college and pursuing a medical career.
Similarly, Funke’s hair also changes throughout this time, each change reflecting the person that she is attempting to be. First, she gets “Bimpe, the housegirl, to braid her hair on Sundays. All the girls in her class had plaits” (10), wanting to fit in with the other children in Nigeria. Then, when she goes to London, she keeps her hair in plaits throughout her first several days there, only removing them after she starts speaking to Liz and adopts the name “Kate.” After her return to Nigeria, she again plaits her hair, then realizes that she will never truly fit in, ultimately deciding on Bantu knots that make her stand out while also appearing “strong enough to look predators in the eye and roar, ‘Fuck off!’” (176).
Funke’s journey with her hair is an experience often reflected in literature by Black writers, such as The Other Black Girl by Zakiya Dalila Harris and Queenie by Candice Carty-Williams. Due to Europeanized standards of beauty and anti-Black racism, Black hair has often been viewed as lesser—less beautiful, less desirable, and less manageable. Funke struggles with these same standards and prejudices, ultimately choosing to change her hair to fit into whatever society she is trying to assimilate into.
The journey that Funke undergoes reflects her efforts at discovering who she is amid constant physical movement and dislocation. She struggles to figure out which world she belongs in, first being Nigerian, then fully committing herself to becoming British, then again recommitting to her Nigerian identity. These experiences reflect those of many members of the African diaspora, like Nikki May herself, as their identity is constructed of two separate nationalities and cultures. As a result, they face exclusion from both societies, just as Funke does, never fully belonging to either due to prejudice, racism, and personal feelings of unbelonging.
However, in the final pages of the text, Funke finally recognizes and accepts her duality. Her decisions to start a relationship with Bola and to remain in Nigeria and build a home, yet also to reconnect with Liv and Grandma and return to London for her wedding, show her newfound comfort and willingness to exist and carve out her own life in this liminal space.
The two protagonists in the text—Funke and Liz—experience various traumas throughout the course of the text but manage to survive thanks to their dependence on the people in their lives. Through their experiences, the novel highlights the importance of support in surviving trauma.
After Funke loses her mother and her brother, her trauma is symbolized by the bottlecap that she clutches first as her father and his mother refuse to comfort her, then as she struggles to adapt to life in London. In order to resist being overcome with grief, “whenever her crying threatened to choke her, she took out the bottle top and squeezed until the pain stopped her thinking of them. Her palm was dented with jagged circles. No one noticed” (26). The trend of “no one noticing” continues when Funke arrives in London, as she continues to grieve in silence and is unable to even speak at her new home. However, after Liv finds the bottle top one day, she insists that Funke hug her instead, thereby replacing Funke’s self-harm with a much more healthy reliance on their friendship to survive her trauma.
Similarly, Funke is initially traumatized by her relocation and reluctant to adjust to her new surroundings. However, through the love Liv shows her and the support she gets from Jojo, Funke realizes that she has no choice but to adapt to her new life. She realizes that “dancing with Liv and Jojo on her tenth birthday was the moment she decided to survive. She’d make this family work, do whatever it took to fit in. She would flourish” (79). These thoughts mark a change in Funke—now Kate—as she realizes that the physical location she is in or even the treatment she receives from Margot will not define her life. Instead, she will make a home using the positive and supportive people in her life like Liv and Jojo.
Liv experiences two significant traumas in the text, first through her sexual exploitation by Clinton, then through her loss of Funke. After she is extorted for money, she is ashamed and embarrassed, taking out her bitterness on Funke. Instead of reaching out to Funke for support, she treats her with anger and pushes her away. Then, when she believes that Funke is dead, she again withdraws, refusing to return to The Ring, losing her roommates, and living her life on her own. Liv’s isolation and unwillingness to look to others for support ultimately leads to her substance misuse, with her relying on drugs and alcohol to cope. After Jojo finally confronts her about her trauma, she is forced to return to The Ring and into the care of Grandma. Through Jojo, Grandma, and her time in rehabilitation, Liv survives her trauma.
In the final pages of the text, Funke and Liv have finally found happiness in their lives. Funke is engaged, starting a new career, and is happy to live in Nigeria, while Liv is getting married and finally stands up to her mother. Most importantly, they have removed the harmful people from their lives, instead gathering with the friends and family who have supported them. As Funke notes, “they’d found their way back to each other and that was what mattered” (339).