Syntactic Coordination in Chimamanda Ngozi Adichie’s Purple Hibiscus

Abstract

This paper explores the syntactic and stylistic use of coordination in Chimamanda Ngozi Adichie’s Purple Hibiscus (2003), focusing on three major types: syndetic, asyndetic, and polysyndetic coordination. Coordination, a syntactic process linking grammatical units of equal rank, is a significant tool in literary texts for achieving cohesion, emphasis, and emotional resonance. Drawing from Systemic Functional Linguistics and Generative Grammar, this study examines how Adichie employs coordination to enhance her storytelling, convey characters' emotions, and underscore key themes such as repression, freedom, and cultural transitions. Using a qualitative descriptive approach, excerpts from the novel are analysed, with attention to dialogues, descriptive passages, and climactic scenes. The analysis reveals that syntactic coordination, marked by the use of conjunctions like and, but, and or, dominates the text, creating narrative coherence and mimicking natural speech patterns. Asyndetic coordination, characterised by the omission of conjunctions, is strategically used to accelerate pacing or heighten tension. Polysyndetic coordination, where conjunctions are repeated for emphasis, appears less frequently but intensifies emotional weight. The findings demonstrate that Adichie’s use of coordination is not merely functional but deeply tied to her narrative style and thematic concerns. Syndetic coordination often portrays unity, asyndetic coordination reflects fragmentation, and polysyndetic coordination underscores extreme emotions. By weaving these syntactic elements into her prose, Adichie creates a dynamic and immersive reading experience, solidifying her position as a masterful storyteller in contemporary Nigerian literature.