logo

37 pages 1 hour read

Akwaeke Emezi

The Death of Vivek Oji

Fiction | Novel | Adult | Published in 2020

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Chapters 6-10Chapter Summaries & Analyses

Chapter 6 Summary

Chapter 6 is again a half-page narrated by Vivek. Vivek recalls liking the book The Beautiful Ones Are Not Yet Born because the word “beauty” is left intact: “I wanted to be as whole as that word” (67).

Chapter 7 Summary

Narrating, Osita recalls that when Vivek came home from college, the family becomes divided over Vivek’s long hair and the assumption that this hair change means Vivek is unwell. Osita remembers more:

Vivek suggests that Osita might be lying about having a girlfriend in a different town. Vivek then suggests that Osita might be attracted to men. Osita becomes angry and responds aggressively when Vivek tries to comfort him. When Vivek calls Osita “brother,” or “bhai,” in the middle of the night (his term of endearment for Osita), Osita has the urge to move a curl of hair from Vivek’s cheek but is “too afraid to touch him” (88).

Chapter 8 Summary

An unnamed narrator reports more past events:

At Mary and Kavita’s behest, Vivek attends Mary’s church, but he comes home angry and refuses to return to the church, showing Kavita where Mary’s congregation beat his body. “Stop trying to fix me” (95), he tells Kavita angrily.

Kavita calls Mary to confront her about the assault. Mary maintains that it wasn’t Vivek they were beating, but the devil inside of him. Kavita ragefully forbids her from ever again coming near Vivek. Mary calls Kavita ungrateful before Kavita slams down the phone. At first, Kavita does not tell her husband, Chika, what happened.

While comforting her friend Maja in the wake of family tragedy (Maja had discovered her husband’s infidelity), Kavita recalls hiding her grief over Ahunna’s death on Vivek’s birthday, which occurred on the same day. Ekene eventually chides Kavita and Chika for not telling Vivek about Ahunna’s death. Kavita remembers that it was Mary who gently told Vivek that on the day he was born, Ahunna “became an angel” (102).

Kavita comes home and tells Chika about the church beating. Though Chika is also angered, his approach to the situation is different, foreshadowing Kavita and Chika’s different ways of grieving Vivek’s death in the future. While Kavita wants to know why Vivek’s body was delivered to their doorstep, Chika believes the policemen when they say it was probably protest violence or robbery. Kavita vows to find out what really happened to Vivek.

Chapter 9 Summary

Chapter 9 is a short entry by Osita claiming that Kavita is not prepared to know what really happened to Vivek, the same way he was not prepared. He says that the truth hit him “like a lorry” (108). Ostia also fears that someone saw him on the day of Vivek’s death.

Chapter 10 Summary

In Chapter 10, the narrator Vivek recalls that he felt heavy his whole life, like he was “being dragged through concrete” (109). He describes his black-out episodes, or “fugues,” as “short absences […] small mercies” (110) and says they finally allowed him to rest. He says that growing his hair out long made him feel protected and balanced, but, in hindsight, he doesn’t know what he thought the long hair would protect him from

Chapters 6-10 Analysis

Chapter 6 establishes Vivek’s search for an authentic identity as indicated by his love of the wholeness of the word “beauty.” Chapter 7 highlights Vivek’s loneliness as he struggles with his gender identity, and the narrative develops the theme of queer desire through Osita’s veiled attraction to Vivek, which he masks with aggression. Chapter 8 introduces the motif of the dangers of religion as Mary’s congregation assaults Vivek as a form of “deliverance” from the demon they assume to be driving his nontraditional gender expression. The chapter also accentuates Vivek’s family members’ different approaches to his changing sense of self.

Each of these developments pertains to the mortally fraught nature of sexual orientation and gender identity in the novel, and the cultural and political setting is palpable: 1990s Nigeria. Even years after the novel’s publication in 2020 (let alone in the 90s), Nigeria neither recognizes LGBT rights nor legislates those person’s protections in any way; as of 2022, these identities are pathologized and criminalized. In some states, Sharia law sanctions the death penalty for being gay and engaging in sexual activity, and a man can be sentenced to prison for merely being perceived as somehow behaving effeminately. This is the backdrop to the characters’ lives, which illuminates some of the depth of Vivek’s and Osita’s agony and confusion.

It is within this context that Osita hints, in Chapter 9, that he knows more than he is revealing to Kavita about Vivek’s death, claiming that Kavita is not prepared to know the truth. Chapter 10 reveals the symbolism of Vivek’s blackouts—that these dissociations actually feel more authentic to him than the “real” world in which he must perform masculinity; a dissociative disorder would be a natural involuntary coping response for someone whose gender and sexuality did not conform to Nigerian dictates—especially for a temperament as sensitive as Vivek’s. However, such a fugue state (in contrast to milder dissociation) may suggest early childhood trauma in particular.

The author writes from experience. Like Vivek, they are transgender, were born in Nigeria, and grew up there in the nineties. 

blurred text
blurred text
blurred text
blurred text