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Answer Two (2) Questions In All.
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The story centres on the phenomenon of the street child. In its treatment as a major theme, the novelist its causes and consequences. Central to this is the life of the novel’s protagonist, Fofo, and that of her sister, Baby T. Of course there are many children on the streets in the novel, the case of these two sisters dominates. In examining the causes of this phenomenon, poverty is treated as the most crucial. Many parents who cannot afford to provide such basic things as food and clothing, directly or indirectly, push their children into the streets. For instance, Maa Tsuru, Fofo and Baby T’s mother, pushes her children into the streets by encouraging them to beg for money for food until they gradually find it more attractive and profitable than being at home. Other factors implicated in the cause of the phenomenon include faulty beliefs, ignorance, absentee fathers and irresponsibility. Men who find themselves financially incapable of sustaining a family soon run away from home, thereby leaving the wife to take care of the children alone. When the burden becomes too much for the woman, she relieves herself by pushing the children out. This also happens in the case of Maa Tsuru whose “husband”, Kwei, abandons together with the children by running away not only from home but from town. Although time in Maa Tsuru. It is also seen in Maami Broni, Kpakpo and even Onko. as she can now openly mourn her. mes across as explores Kwei uses the issue of a curse as his excuse for walking out on his wife and children, the truth is that he is frustrated by the responsibility which a new baby being carried by his wife would add to his burden. Closely related to poverty in terms of the causes of the phenomenon are ignorance and wrong beliefs. Many parents’ economic condition is terrible because of the number of children they have due to ignorance about family planning. There are also beliefs like “God is there to take care of his creatures and the tendency for girls or young women to have babies they are incapable of taking adequate care of simply because the society expects them to prove their womanhood. The direct effect of this is a worsening in their economic condition, which ultimately leads to pushing the children into the streets. The effects of the phenomenon are shown as extremely adverse on the children and the society at large; even the parents are not spared. The children experience exploitation and abuse in different ways: sexual, economic, social and physical. They also go through emotional and psychological turmoil. Many end up becoming hardened criminals like Poison or petty ones like Odarley and Fofo. Worse still, some have irreversible experiences like death as in the case of Baby T. The society also becomes a victim of the phenomenon because young talents are wasted, criminalized and made to become torturers of innocent citizens as happens in the case of Fofo trying to rob Kabria. Some of the parents and guardians of such children also experience emotional torture in terms of guilt feelings. This is seen from time to time in Maa Tsuru. It is also seen in maami broni, kpakpo and even onko.
MUTE’s custody of FOFO.
As Kabria leaves the hairdresser’s salon, she prays that Fofo be around at their appointed place. Luckily, from some distance, she beholds Fofo reclining on her car somewhat awkwardly. She calls to her but the girl does not respond. When the girl responds to the second attempt by raising her head, Kabria is astounded. Fofo’s right eye is bloodshot, part of her face is swollen and her lip is cracked. She has been beaten up by somebody Kabria calls office to inform her colleagues of the development and her decision to bring the girl over. Inside the car, she asks Fofo what happened and who beat her but the girl will not talk When she eventually talks in response to the need to seek medical attention, she complains of lack of money but looks grateful on hearing that MUTE will foot her medical bill. Kabria’s question on whether Fofo’s condition has anything to do with her dead sister undermines the ensuing understanding between the two. Fofo pretends as if she does not have any sister, let alone talk about one. Kabria is confounded and asks if Fofo sometimes tell lies. She admits so and Kabria becomes desperate. She thinks Fofo is playing some games and wishes she had Vickie’s company to cope with the situation. Intermittently, Fofo winces in pain. At a point, she tells Kabria that she would like to spit some blood collected in her mouth. Kabria pulls up the car for her to do so. As they set off again thereafter, Fofo dozes off. Later on, Kabria contemplates the girl’s face and feels that sooner or later the source of the violence done to Fofo will be uncovered. Kabria’s colleagues in the office are amazed at what they see of Fofo’s face. Their attempts to get her talk end in vain. While thinking of what next to do, Aggie suggests that the police be informed. The suggestion alarms Fofo and she tries to run away, crying “No police! No police Dina takes charge, asking Fofo to sit down and makes arrangements for her food and medication. She also goes into her office to make arrangements with the producer of GMG Show on the subject of the street child, and thereafter shares out responsibilities concerning Fofo among her staff members.
(i) The act of taking in the girl signifies the commitment of MUTE to her plight and cause. By taking custody of the girl, they have tacitly taken up the challenge of going the whole hog with the case and liberating or rehabilitating her.
(ii) The appearance of Fofo in this episode shows very vividly one of the major characteristics of street life, which is violence.
(iii)The act of taking Fofo into custody also facilitates the bonding and generation of trust needed to make MUTE’s task in the efforts to help the girl and unravelling the mystery of her sister’s death easier.
(iv) Fofo’s initial uncooperative and pretentious attitude towards Kabria and later to other members of MUTE shows that she is under pressure from some very powerful people.
(v) The step will also be leading MUTE outside of its familiar terrain of establishing alternative library services into crime investigation.
A princess and the daughter of Frederic, the Marquis of Vincenza, at the beginning of the novel Isabella is Conrad’s fiancé and the ward and de facto daughter of Hippolita and Manfred. Like Matilda, Isabella is beautiful, pious, and a model of filial devotion. Despite her personal reluctance, she agrees to marriage with Conrad because she believes it to be arranged by her long-lost father (later the narrator reveals that Manfred actually bribed her guardians). When Manfred attempts to rape her, Isabella protects her virtue by fleeing the castle with the help of Theodore and escapes to a cave where she meets Frederic, her long-lost father. After Manfred’s failed attempt to kill her, Isabella mourns the loss of Matilda with Theodore and eventually marries him.
(i) She is the daughter of Marquis Frederic betrothed to Conrad before the boy’s untimely death.
(ii) She resists Prince Manfred’s attempts to force her into marrying him. Firstly, she flees from the castle to the sanctuary at St. Nicholas Church. Later, she runs into a cave. She also promises to defy her father on the matter should he encourage her into it.
(iii) Similarly, she resists Lady Hippolita’s encouragement along this line.
(iv) She is a loyal friend to Matilda. Realizing that Matilda is Theodore’s object of affection, she yields him to her and wishes her friend well.
Bigger’s first assignment in the Dalton house begins with Bigger nursing so much fear for the white folks. After the omnious incidents of killing a rat in his family’s apartment in the south-side of Chicago and the failed robbery of Bloom’s shop, Bigger gets a driver job with the Dalton’s, and his first task as their driver is to drive Mary to school and to her boyfriend, Erlen Jan. To Bigger’s dismay, Mary displays so much tolerance that can hardly be found among the white people. Mary and her boyfriend drink so much until she falls into stupor. Bigger as her driver manages to put her in the car and drives her home. In the cause of helping her to her room Bigger feels sexually aroused and begins to kiss her. The fearful Bigger hears the footsteps of the blind Mary’s mother. Fearful and unaware of the woman’s blindness, he tries to keep Mary.
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