by Jane Igharo
“Yes, honey. We are. We are living happily ever after.”
And those are the words that put our daughter to rest.
As Rafael and I walk to our bedroom, down the hall from Hope’s, I’m reminded that I hate when romantic movies end without giving the viewer the slightest glimpse into the happily ever after the couple is promised. Personally, I want a few more heartwarming details. What happens after the stern businessman faces his fear of heights and climbs up the fire escape to prove his love to the spirited prostitute? What happens after the eccentric socialite and the straight-shooting writer kiss in the pouring rain with a cat called Cat nestled between them? What happens after the iconic chase to the airport or after the public declaration of love? What happens after the final kiss?
Notting Hill doesn’t end after Will subtly implies his love for Anna during a press conference. After that scene, others follow—their summer wedding and their red-carpet debut as husband and wife. In the last scene, the couple is on a park bench. Will is reading a book. Anna has her head on his lap and a hand over her baby bump. Needless to say, this is the perfect glimpse into the happily ever after the couple is promised.
In my culture-clash love story, the glimpse into ever after is this moment—my daughter sleeping peacefully in her room and me in bed with my husband, his hand on my stomach, securing my body to his, the thread that stitched our hearts together years ago still very much intact.
ACKNOWLEDGMENTS
I unconsciously wrote my family into this book and didn’t realize it until I was editing. Azere’s village is the picture my mother painted whenever she told me stories about her village. Christina is my hilarious sister, Precious. Jacob is my kind brother, Divine. Chapter forty-three—the shortest chapter and dearest to my heart—is dedicated to my father, Fred. He died before I knew him, yet he found a place in this book somehow.
I am so thankful to these people who unintentionally inspired this story and these characters. I am especially grateful to my mother, Joyce, who is such an extraordinary person. She knew she had given birth to a writer—she just didn’t know which of her three children it was. Growing up, she would say, “One of my children will become a writer, and they will tell my story.” I was certain it was one of my siblings—not me. It couldn’t be me. Even at ten, I struggled with reading and writing. But it’s me, Mom. I’m going to tell your story one day, and it will be the greatest story I ever tell. Thank you for supporting this dream, even when it seemed irrational and impossible to achieve.
Kristin Wright, my wonderful Pitch Wars mentor, thank you for loving this story just as I did, for dedicating your time, your knowledge, and your support. Brenda Drake, thank you for creating Pitch Wars; it continues to give writers so many opportunities. Kevan Lyon, you are seriously an incredible agent. Thank you for your support, for replying to emails so quickly, for calming my nerves. You have prevented many meltdowns you aren’t even aware of. With you, I am confident and at ease. You’re a dream agent. Kate Seaver, thank you for not seeing what my book was but what it could be. You knew exactly what this book needed. I am still amazed at how far it has come. I am so grateful for your brilliant insight, and I seriously couldn’t ask for a better editor. To the entire Berkley team—Fareeda Bullert, Danielle Keir, Dache Rogers, Megha Jain, and Mary Geren—thank you for helping me share this book with the world. A huge thank-you to Fatima Baig and Emily Osborne who captured the essence of my book with a stunning cover. You guys gave me the cover of my dreams.
To my friends, family, and critique partners who have offered endless support over the years—there are so many of you—thank you so much for dreaming with me, for believing with me.
More than anything, I am grateful to God. He placed this dream in my heart, but it wasn’t easy to accomplish it. Getting a book published is the hardest thing I have ever done. There were so many years of rejections. At one point, my dream felt like a burden, and even then, I didn’t know how to give up. God wouldn’t let me. Proverbs 18:16 became my mantra. My faith in those words and God allowed me to achieve this dream. But it’s more than a dream come true now. It’s a testimony.
Discussion Questions
Azere describes her Canadian citizenship as a title that is both empowering and demanding because it requires her to give up part of her Nigerian culture so she can fit into her Canadian setting. Do you think many immigrants believe their citizenship is both empowering and demanding? Why or why not?
What do you think of the promise Azere made to her father? How do you think the promise constructed her perception of what a Nigerian woman should be?
When Azere is around her family, she doesn’t feel the pressure of being wedged between two worlds. According to her, she isn’t Nigerian Canadian, but just Nigerian. Do you think some immigrants often have two sides to them—one they present to the world and one they reserve for the comfort of family? Why do you think that is?
Both Azere and Rafael experienced the death of loved ones. How do you think their losses impacted the development of their relationship and how they interacted with each other?
Azere’s mother was often harsh. Knowing her actions were provoked by fear—fear that her children would lose their culture—do you think they were justified? Why do you think this?
What role do you think Azere’s family and friends played in her growth? Who do you think was the most influential character in her development and why?
Azere constantly compares her experiences to romantic movies. What was your favorite movie reference and why?
In the novel, Azere’s mother asks: How much more of yourself, of your culture will you lose to accommodate him in your life? Do you think people who marry outside of their ethnicity have to give up part of their culture in order to make their relationship work? Why or why not?
Azere’s mom and Rafael’s parents are immigrants. How do they approach preserving their cultures with their children? How do their methods differ?
Photo © Borada Photography
JANE ABIEYUWA IGHARO was born in Nigeria and immigrated to Canada at the age of twelve. She has a journalism degree from the University of Toronto and works as a communications specialist in Ontario, Canada. When she isn’t writing, she’s watching Homecoming for the hundredth time, and trying to match Beyoncé’s vocals to no avail.
CONNECT ONLINE
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