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Kambili’s Papa-Nnukwu, Igbo for grandfather, is a spirited and loving old man who is deeply committed to his traditional Igbo spirituality. His joy in having grandchildren is apparent in how he begs to meet Jaja and Kambili but rejects any further material comforts from Eugene. With Amaka, Obiora, and Chima, who are allowed to spend more time with him, he often goes off on long tangents, proudly sharing Igbo culture and history. His proclamation that Amaka’s artistic talent would have been venerated in pre-colonial times demonstrates his pride in his grandchildren’s talents and his desire to connect them to their heritage. Although he’s deeply hurt by Eugene’s rejection, Papa-Nnukwu attempts to hide his sorrow when he talks to Kambili and Jaja, refusing to punish them for their father’s choice. Kambili sees the depth and beauty of Papa-Nnukwu’s spirit and spirituality when Aunty Ifeoma encourages her to spy on his morning ritual. Not only does the ritual have parallels to the Catholic prayers that Kambili is used to, but she is shocked by how generous Papa-Nnukwu is toward Eugene despite his cruelty. Seeing this ritual allows Kambili not only to reject her father’s condemnation of Igbo traditions but to appreciate her Papa-Nnukwu all the more.
Papa-Nnukwu additionally symbolizes how Kambili and Jaja have been cut off from aspects of their Nigerian heritage because of their father’s colonial Catholic values. The traditions that Eugene fears are not just religious, but aspects of Igbo Nigerian culture that are usually passed on through family elders. Although they are also raised Catholic, Amaka, Obiora, and Chima spend time with Papa-Nnukwu, and therefore develop a deep love of their Igbo heritage through his teaching. They know how to do the call and response when Papa-Nnukwu tells the tale of the tortoise, whereas Kambili is silent. The cousins know what kinds of questions to ask Papa-Nnukwu about the mmuo procession. In contrast, Jaja asks Papa-Nnukwu a question considered “womanly.” Because he hasn’t undergone the Igbo coming of age ceremony, Jaja doesn’t have the context to understand how to ask Papa-Nnukwu for more information on the procession. When Eugene tears up the painting of Papa-Nnukwu, Kambili says that it represented “something lost, something I had never had, would never have.” That something is both the relationship with Papa-Nnukwu and a relationship with Nigerian traditionalism that she never got to learn first-hand from a beloved elder.
