74 pages • 2 hours read
Wayetu MooreA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Greens refer to potato greens, which are the young leaves from sweet potatoes. People in the West African countries of Liberia, Sierra Leone, Guinea, and Mali often consume potato greens. Their frequent mention in the memoir strongly suggests that they’re a staple vegetable. In addition to being a source of nourishment, greens serve as a metonym in the book for Liberian traditions, comfort, and family.
In the book’s first few pages, Wayetu wants to help the domestic servant, Korkor, wash the greens, as the women do. Korkor jokes that she “will have plenty time to wash greens,” an indicator of the domestic duties that likely await Wayetu (6). Before Mam leaves for New York, Wayetu sees her cutting greens in the kitchen when Gus playfully throws her over his shoulder. Greens are associated, too, with the happy moments before the war when her family was safe and united. Moore writes often about the smells of fresh greens and seasoned greens wafting through the air in the country. When she descends from the plane into Monrovia, she smells “fresh rubber sap” and “fried greens” (151). While the former scent is tied to a legacy of Western exploitation, the latter is connected to a legacy of resilience and survival—hence, the juxtaposition of both the scents of rubber and greens with that of sweat.
On the night that she arrives in Monrovia, Mam makes her favorite dish, which includes warm greens. When Satta rescues the Moores from Lai and takes them to Bo Waterside, she carries greens that Mam paid for to nourish them for their journey. In recalling the strength of her Ol’ Ma, Wayetu thinks of “the way she pounded potato greens in that wooden pot […] the dance of mothers come and gone, to make the harvest softer, easier to digest” (159). Though preparing greens may traditionally be the duty of women, the act is not servile but one that they perform to honor their families, their lineage, and themselves.
The dragons of Wayetu’s childhood imagination are the forms that warlords take. Unable to understand the intricacies of tribal warfare and the senselessness of endless violence, young Wayetu creates a fairy tale—based on the oral narratives she heard growing up—to explain the First Liberian Civil War. Samuel Doe becomes Hawa Undu, while Charles Taylor is the prince who has entered the forest to destroy Hawa Undu and, in the process, also becomes a dragon because he doesn’t understand the forest’s power. Wayetu’s sense that once-good “princes” can transform into “dragons” signifies her early understanding that character is not fixed. Circumstances, as well as a lack of self-awareness, can cause otherwise well-intended people to go astray.
Drums refer to the distant sounds of gunfire that the Moores hear as the rebels battle those in power. To shield five-year-old Wayetu and her sisters from the violence and trauma of the civil war, her elders say that the incessant gunfire is the sound of a drumbeat. She internalizes this idea, coming to associate the sound of gunfire with distant festivals, such as Malawala Balawala and thus with safer and joyous times. Loud, rapid gunfire becomes “the clashing of cymbals and drums” (9). However, Wayetu seems to develop the sense that the drums indicate impending danger. When K falls ill from malaria in Lai, the villagers worry about the commotion that the Moores make in response, “scared that the drums had found [their] hiding place” (82).
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