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Freshwater
Freshwater
Freshwater
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Freshwater

Rating: 4 out of 5 stars

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A National Book Foundation “5 Under 35” Honoree
Finalist for the PEN/Hemingway Award for a Debut Novel
Shortlisted for the Center for Fiction First Novel Prize
A New York Times Notable Book

The astonishing debut novel from the acclaimed bestselling author of The Death of Vivek OjiYou Made a Fool of Death with Your Beauty, and PetFreshwater tells the story of Ada, an unusual child who is a source of deep concern to her southern Nigerian family. Young Ada is troubled, prone to violent fits. Born “with one foot on the other side,” she begins to develop separate selves within her as she grows into adulthood. And when she travels to America for college, a traumatic event on campus crystallizes the selves into something powerful and potentially dangerous, making Ada fade into the background of her own mind as these alters—now protective, now hedonistic—move into control. Written with stylistic brilliance and based in the author’s realities, Freshwater dazzles with ferocious energy and serpentine grace.

LanguageEnglish
PublisherGrove Press
Release dateFeb 13, 2018
ISBN9780802165565
Author

Akwaeke Emezi

Akwaeke Emezi (they/them) is the author of the New York Times bestseller The Death of Vivek Oji, which was a finalist for the Dylan Thomas Prize, the Los Angeles Times Book Prize, and the PEN/Jean Stein Award; Pet, a finalist for the National Book Award for Young People’s Literature, a Walter Honor Book, and a Stonewall Honor Book; Freshwater, which was named a New York Times Notable Book and shortlisted for the PEN/Hemingway Award, the New Public Library Young Lions Fiction Award, the Lambda Literary Award, and the Center for Fiction’s First Novel Prize; Dear Senthuran: A Black Spirit Memoir, which won the 2022 ALA Stonewall Prize for Best Nonfiction Book; and most recently, Content Warning: Everything, their debut poetry collection, and Bitter, their second young adult novel. Selected as a 5 Under 35 honoree by the National Book Foundation and featured on a Time cover as a Next Generation Leader, they are based in liminal spaces.

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Rating: 4.187956091240876 out of 5 stars
4/5

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  • Rating: 5 out of 5 stars
    5/5
    Scary in its realistic portrayal of a splintered mind. Nigerian culture & beliefs are featured quite a lot in this book, but it's easy to follow even with no prior exposure to the subjects. Rich, unique, and thrilling overall. An amazing book, and I'm looking forward to more from this author!
  • Rating: 5 out of 5 stars
    5/5
    Never had I read, until today words that explain, detail and make sense of my metaphysical identity! To give breath to my experience brings a huge sigh of relief. I’m so appreciative for this woman and these words!
  • Rating: 5 out of 5 stars
    5/5
    Pushes past the boundaries of western ideas of transness, and sanity. A very good read for those interested in decolonizing their mind on the topic of queerness and mental health.
  • Rating: 5 out of 5 stars
    5/5
    I can't praise this book highly enough. It's a raw, visceral depiction of the experience of living with dissociative personalities, understood through the lens of the Odinani religion of the Igbo people of Nigeria.The traumas that are inflicted upon the main character, Ada, are graphically narrated mainly by the spirits/dissociative parts, and also by Ada themself. This is represented as a protective and adaptive, if painful and wounding, process rather than as mental illness. Indeed, Ada's brushes with the psychiatric establishment are shown as dangerous and threatening to their selfhood, and their avoidance of 'treatment' as fortuitous escapes. Being semi-autobiographical, I give the author credit for knowing what they speak of. Powerfully, heartbreakingly insightful.This book could be triggering for those who have experienced violence and sexual trauma.
  • Rating: 4 out of 5 stars
    4/5
    I might bump this one up to 5 - I need a few days to sit with it. This one's going to stay with me.
  • Rating: 4 out of 5 stars
    4/5
    I kept hearing about this debut novel Freshwater by Akwaeke Emezi. It’s relatively short but took me a whole month to get through as I kept putting it down and picking up other books. It follows a girl Ada who is born in Nigeria with what is called ogbanje — gods from another world trapped in her mind. It sounds like magical realism, but it’s more of a spiritual way of explaining schizophrenia. Over a tumultuous childhood she moved to the US for college where the gods/voices multiply and become stronger. Many of the chapters are told in the voices of the gods. They all live in a marble room in her head.My biggest issue with the book was the beginning and middle were very clearly set in reality. We learned about Ada’s parents, their divorce, her college experience meeting her roommate and then all those details fall away. She is having affairs all over the world, saving thousands of dollars for a plastic surgery, checking herself into a hospital for help and checking herself out, but there’s no mention of a job that pays for all these things or even where/how she lives. I understand that these feel irrelevant as she’s battling her gods, but I wasn’t able to understand her struggles without the context of her day-to-day life that was so detailed in the beginning.
  • Rating: 5 out of 5 stars
    5/5
    Some books grab you by the soul and take you though dark holes of shadowy demons, and then propel you with the courage of a previous pilgrim to finally arrive at the other side. There you meet a version of yourself more raggedy, honest and brilliant than reality would deem possible. This book is not an autobiography, but a healing for humanity. A blessing to behold.

    1 person found this helpful

  • Rating: 4 out of 5 stars
    4/5
    I found this novel a bit hard to follow. Very much one you need to fully pay attention to fully grasp. Akwaeke's soothing voice made this an easy listen, even threw the hard topics of mental disassociation, and rape. My heart aches for the author as I find myself wondering how much of this was novel and how much they truly experienced in their life. I applaud them for the courage to put life on paper, even if it was through a fictional lens.
  • Rating: 5 out of 5 stars
    5/5
    “The first madness was that we were born, that they stuffed a god into a bag of skin.”I learned about Freshwater after someone (I don't remember who) quoted a short passage on twitter. Just a single sentence or two — too short to know what the story was about, but beautiful enough to make me long to read the book. It was not yet published at the time, so I watched and waited and clicked the preorder link as soon as it appeared, then I waited some more for this beautiful book to be printed and shipped to me. It was every bit worth the wait, because this debut novel is gorgeous. “There was a time before we had a body, when it was still building itself cell by cell inside the thin woman, meticulously producing organs, making systems.”Born in Nigeria, Ada begins life with a fractured self, burdened with the weight of god creatures that have been bound into her flesh. Living "with one foot on the other side" she is a troubled and volatile child who grows into a troubled and volatile adult, with a tendency toward outbursts and self harm. As she grows and moves to America, where she experiences a traumatic event, new selves crystalize within her, each providing their own protections and hungers. Much of the story is told from the point of view of these god creatures (or spirit beings), which have their own needs and desires beyond that of Ada herself. Their story and her story blends together, as they have been blended together in spirit and flesh. It's a fantastic rendering of having a fractured self, the confusing mix of desires and emotions that make up a person, the ways we work to protect and harm ourselves. “I had arrived, flesh from flesh, true blood from true blood. I was the wildness under the skin, the skin into a weapon, the weapon over the flesh.”The writing style in this book is lush and vibrant, evoking the energy and power of spirit realms represented in the voices of the gods the speak this story. It's gorgeous on every page, bringing into existence a story that is unsettling, surprising, and powerful. This is a novel I will return to again and again.

    1 person found this helpful

  • Rating: 3 out of 5 stars
    3/5
    Their prayers have been heard and the god Ala sent them a baby girl: Ada, named in honour of the generous goddess. Yet, it comes with a plus, Ada is not alone, she has got some characters living in her mind, still asleep, but eager to wake up and take over the body given to them. The first two to arrive and take care of Ada and her siblings in their Nigerian village. Later, in America, when another of the voices awakes and takes over control over Ada‘s body, things turn out differently. For the world outside, it is hidden what is going on inside Ada‘s head, once she tries to tell a therapist, however, the voices that possess her are stronger and find a way out of this dangerous situation.Akwaeke Emezi‘s novel „Freshwater“ was all but easy to read for me. First of all, I had some difficulty understanding who is telling the story, it took me some time to figure out that the voices in Ada‘s head are the narrators. So, we are mostly inside her mind, but sometimes we get what happens outside, too.You cannot really say that Ada is mad even though she hears voices and follows their command. It was especially when she hurt herself to calm down the first two voices, Smoke and Shadow, that was hard to endure. The third who made her act promiscuously wasn‘t much better. They are evil, after all, misusing an innocent human to fulfil their wishes and greed. I am not sure if it works like this with people hearing voices, even if it is somewhat different, this seems to be horrible. On the other hand, Ada obviously experienced some very bad incidents and the voices were somehow able to split those memories from her normal memory thus making her forget these experiences. Maybe this is the cause why the voices could develop after all.It is always hard to like a novel if you detest the protagonist or narrator. Thus, „Freshwater“ is not a novel I could fall for easily. Still, I consider the topic highly interesting and, ultimately, the author found a convincing way of making the voices heard for us.
  • Rating: 5 out of 5 stars
    5/5
    This truly is an extrordinary novel -- the experience of which will depend significantly on the worldview of each reader.

    The protagonist, Ada, has multiple personalities, personalities which are self-aware as spirits from within a specific tradition. Spirits who remember a time before they were confined within the meat body of the human girl Ada.

    I first heard of the book through an online review, and that reviewer was unable to take this premise seriously. S/he had to approach the book solely as a depiction of psychological fragmentation. I, on the other hand, have known a person like Ada: someone whose multiple personalities had distinct spiritual identities, and who spoke of their shared mental space as a "cave" -- strikingly similar to the "marble room" that Ada and her spirits refer to. The fighting over the body, the need to reform the body to accommodate the identities of the spirits. . . those too are familiar to me. Each beautifully-written, emotionally challenging chapter brought with it for me a sense of shock as I encountered again and again experiences which I had heard of face-to-face.

    Read it as a fantasy, as a psychological novel, or as a near documentary. . . it will still be a book well worth reading.

  • Rating: 5 out of 5 stars
    5/5
    This is one of the current trend of very short literary novels, which is not my favorite trend in fiction (I'm fond of books I can have a good affair with), but in this case, the novel is so dense that it manages to fit just right within that space.

    It's difficult to summarize Freshwater, which is semi-autobiographical, because it can be read two ways: through the lens of traditional Igbo spirituality (the author's primary focus) or via a Western psychiatric view, which readers will bring to it. The personalities within Ada view themselves as ogbanje--traditional spirits, that have come with her from birth. They are shaped by her trauma, and accompany her through self destruction.

    At the beginning, the writing felt somewhat overworked, trying too hard to bring a particular tone and rhythm reflective of Nigerian/Igbo English, but as other voices enter the story, with their own personalities and language, it achieved a better balance. The story focuses much more on internal narrative than on dialogue, filtering events through Ada's personalities' points of view.
  • Rating: 4 out of 5 stars
    4/5
    Emezi’s book is creative, innovatively structured, strange — and ultimately a bit difficult to navigate in spite of its brevity. Told in alternating voices, the author sets the literary bar quite high when it comes to spinning a complex tale in a cohesive and coherent way. I wanted to enjoy “Freshwater” more than I did, but I admire the author’s effort to tackle important topics in a unique way.
  • Rating: 5 out of 5 stars
    5/5
    Absolutely unique and illuminating! This book is one that will stay with me for a while.
  • Rating: 3 out of 5 stars
    3/5
    Unlike other reviewers, I struggled to understand what was happening in this autobiographical novel. I had to go back and reread the beginning. I didn't love it as many others did, but I did finish it and come to understand this was the author's way of understanding and coming to terms with herself, a bildingsroman of sorts, a fable about trauma, mental illness, and multiple personality disorder. I picked up this book after reading PET, Emezi's young adult fantasy, which I liked very much. When you come to understand Emezi's own experience, it is amazing that she has recovered and written so brilliantly. That she managed to live in the world, graduate from college, respond to her own understanding that she was a transgendered person who had been abused. Her multiple personalities are called ogbanje, or spirits. One of them, Asughara, leads her to act out sexually in ways that Ada, herself, in her devout Catholicism, cannot.Emezi will publish an actual memoir, Dear Senthuran, in June. It would be interesting to compare it to this book.
  • Rating: 5 out of 5 stars
    5/5
    I had heard good things about this book, but I didn't go seek it out until it was on my recommendation list from Tailored Book Recommendations. Which I am grateful for, because let me tell you, I was absolutely blown away from the very first page. This book is the kind of dazzling that defies easy descriptions, but of course I have to try. When Ada is born, a number of ogbanje are trapped within her body. Not used to having mortal lives or possessing physical form, they mostly ride along -- whispering to her in her mind now and then, keeping her company. But when something terrible happens to Ada in college, the spirits take on more active roles, sometimes going so far as to take over, "possessing" her. At first it is all in the name of protecting Ada -- but the ogbanje have desires of their own, and balancing them all becomes increasingly difficult.What's fascinating about this book is that as easily as it could be read as mythology/fantasy, it could all be read as a direct metaphor for mental illness and responses to trauma. I sometimes wondered if Emezi would "give the game away" and commit to one interpretation or the other, but the book lives in that tension throughout. Fierce and compelling. I am sure this book will continue to find new readers.
  • Rating: 4 out of 5 stars
    4/5
    Excellent and vibrantly fresh. Its a spiritual story of existence as many in between--a girl, gods and spirits. Madness. And then you get a sense for the spiritual journey that allows it to work, and finally for the depth and trauma that also makes it a psychological story.
  • Rating: 5 out of 5 stars
    5/5
    kind of mind blowing. i loved it.
  • Rating: 3 out of 5 stars
    3/5
    This is an utterly unique story, compellingly told.

    That said, it is also deeply disturbing. As background, the author describes this book in interviews as very close to memoir, which didn't surprise me given some of the ways the story is told (for example, a number of 'characters' that don't really play into the narrative show up periodically, in a way that only makes sense if they are real people from the author's life).

    So, disturbing - first, because I couldn't follow the author/narrator's reinterpretation of their madness as spiritual and metaphysical. Second, because the book is so focused on the narrator's complicated, multiple self, that it skates over the other humans in their life, and the harm they did, over and over. A person may be a spirit being stuck in a human body, or a person may have multiple personality disorder, but that doesn't excuse using people like toys, much less breaking those toys like a spoiled child. The narrator acknowledges that harm, but never really reckons with it, because they are consumed with their internal conflicts. Other people don't seem real to them. And that, more than the strangeness of their spiritual condition/madness, is what is really grotesque about this novel.
  • Rating: 4 out of 5 stars
    4/5
    A very original debut novel. Ada was born with one foot in this world, and one in the other. She was a difficult child, but when she moves to America for school and has a traumatic experience, the spirits living inside her are born into her knowledge. Asugahara is destructive and controlling, interested in men and blood and making Ada suffer and pay. St Vincent is quieter but there, interested in women and uncomfortable in Ada's woman's body. Ada also talks to Yshwa (Jesus) and Allah. Ada is always uncomfortable, and does not remember what she does when controlled by these spirits. She cuts herself, she has relationships and friends (one of whom seems to understand), she has surgery to modify her female body. She develops an eating disorder, and she tries to find her way back to Yshwa.Is Ada mentally ill? Is she an ogbanje? Is she just struggling to come to terms with her queer identity, and to fit in? She does not know, and the tension between Ada and the spirits, and her mother, boyfriends, friends--that is what makes this book so original and fascinating.I listened to this book on Hoopla, and the author is the performer. Her voice is mesmerizing, but I was confused a few times because the narrator changed but I did not realize it.
  • Rating: 4 out of 5 stars
    4/5
    A fascinating angle on mental illness and spirituality, too. I loved the scenes where the different characters talked to each other inside Ada's brain. Some of the "we" chapters were a bit dense for me, not having any knowledge of the religions they referenced, but overall I really enjoyed how this book struck a balance between experiment and good old fashioned college drama.
  • Rating: 4 out of 5 stars
    4/5
    I had a really tough time getting into this book initially. There's no doubt that the voice of the narrative is interesting, but that doesn't mean it is not confusing. Trust me, it is. Told by the voices in Ada's head—are they personalities indicative of a mental illness or spiritual beings that battle for her attention—Freshwater does not stop to answer questions. This commitment to voice is good for the end result, because it really adds credibility to the narrative, but it does make for a somewhat difficult beginning.In her debut novel, Akwaeke Emezi crafts a journey that is devastating and empowering. There is much in this story that can break a heart or turn a reader in disgust. Those avoiding difficult subjects in their reads should skip this one. Ultimately, however, Freshwater is a very spiritual tale, a battle for one soul. Despite the many dark moments, it becomes a display of strength and fulfillment. Through lyrical prose and the unrelenting voices, Freshwater explores what it is to be between two worlds—living and dead, Africa and America, Allah and Yeshua, peace and rage.

    1 person found this helpful

  • Rating: 3 out of 5 stars
    3/5
    Stylistically brilliant, but as far as content goes, the book paints a disturbing portrait of a mentally ill woman clinging to a split personality to protect herself from sexual abuse but, instead, causing more abuse -- rationalizing it with belief in ancient African spirits and sacrifice. This illogical process is painful to read, but accurate of how mental illness works. The language is grim and bloody. The treatment of the protagonist is cold and cruel. The outcome is less than satisfying. Points for writing style, but the theme was brutal, and the resolution devoid of redemption.

    1 person found this helpful

Book preview

Freshwater - Akwaeke Emezi

FRESHWATER

Chapter One

I have lived many lives inside this body.

I lived many lives before they put me in this body.

I will live many lives when they take me out of it.

We

The first time our mother came for us, we screamed.

We were three and she was a snake, coiled up on the tile in the bathroom, waiting. But we had spent the last few years believing our body—thinking that our mother was someone different, a thin human with rouged cheekbones and large bottle-end glasses. And so we screamed. The demarcations are not that clear when you’re new. There was a time before we had a body, when it was still building itself cell by cell inside the thin woman, meticulously producing organs, making systems. We used to flit in and out to see how the fetus was doing, whistling through the water it floated in and harmonizing with the songs the thin woman sang, Catholic hymns from her family, their bodies stored as ashes in the walls of a cathedral in Kuala Lumpur. It amused us to distort the chanting rhythm of the music, to twist it around the fetus till it kicked in glee. Sometimes we left the thin woman’s body to float behind her and explore the house she kept, following her through the shell-blue walls, watching her as she pressed dough into rounds and chapatis bubbled under her hands.

She was small, with dark eyes and hair, light brown skin, and her name was Saachi. She’d been born sixth out of eight children, on the eleventh day of the sixth month, in Melaka, on the other side of the Indian Ocean. Later, she flew to London and married a man named Saul in a flurry of white sari, veil, and flowers. He was a forceful man with a rake’s smile and deep brown skin, tight black coils cropped close to his head. He sang Jim Reeves in an exaggerated baritone, spoke fluent Russian and knew Latin, and danced the waltz. There were twelve years between them, but still, the couple was beautiful, well matched, moving through the gray city with grace.

By the time our body was embedded in her lining, they had moved to Nigeria and Saul was working for Queen Elizabeth Hospital in Umuahia. They already had a little boy, Chima, who had been born in Aba three years before, but for this baby (for us), it was important that they return to Umuahia, where Saul was born, and his father before him, and his before that. The blood following paths into the soil, oiling the gates, calling the prayer into flesh. Later, there would be another girl child, born back in Aba, and Saul would sing to both the girls in his baritone, teach them how to waltz, and look after their cats when they left him.

But before the girls were born, they (the thin woman and the forceful man) lived in a large house in the doctors’ quarters, the place with the hibiscus outside and the shell blue inside. Saachi was a nurse, a practical woman, so between the both of them, the odds were good that the new baby would live. When we got tired of the house, we fluttered and swooped, playing in the compound and watching the yam tendrils crawl up their supporting sticks, the silk of corn drying up as it ripened, the swelling and patched yellowing of the mangoes before they fell. Saachi would sit and watch Saul fill two buckets with those mangoes and bring them to her. She ate them all the way from their skins through their wet flesh to her teeth scraping like dry bone against the seeds. Then she made mango jam, mango juice, mango everything. She ate ten to twenty of them each day, then a few of the large avocados, slicing those around the pit and scooping their butter down her throat. And so our fetus body was fed and we visited, and when we were tired of their world, we left for our own. Back then, we were still free. It was nothing to slip away, along the bitter streams of chalk.

In those Queen Elizabeth days, their taxi driver was a man who plastered the inside of his car with a slogan, NO SHORTCUT TO SUCCESS. The same words, growing thick as stickers piled on one another, some peeling and others glistening new. Every day, Saachi left her little boy, Chima, at home with his nanny, and the taxi driver would take her from the compound to Saul’s clinic in the interior of the village. That morning (the day we died and were born), her labor started as they drove down the twisting red roads. The driver spun the wheel around, following her gasped orders, and took her to Aloma Hospital instead. As her body called to us and wrung itself out, all Saachi could focus on were those stickers, swarming around the seats, reminding her that the short way did not exist.

Meanwhile, we were wrenched, dragged through the gates, across a river, and through the back door of the thin woman’s womb, thrust into the rippling water and the small sleeping body floating within. It was time. When the fetus had been housed, we were allowed freedom, but it was going to be alone, no longer flesh within a house but a house itself, and we were the one meant to live in it. We were used to the warm thuds of two heartbeats separated by walls of flesh and liquid, used to the option of leaving, of returning to the place we came from, free like spirits are meant to be. To be singled out and locked into the blurred consciousness of a little mind? We refused. It would be madness.

The thin woman’s body was prone to quick labors. The boy, the first child, had been born in an hour, and a year after we were born, the third child would take only two. We, the middle, held the body against the pull for six. No shortcuts.

It was the sixth day of the sixth month.

Eventually, the doctors slid a needle into Saachi and fed her from a drip, fighting our resistance with drugs, expelling the body that was becoming ours. And so we were trapped by this unfamiliar birthing, this abomination of the fleshly, and this is how we ended up here.

*    *    *

We came from somewhere—everything does. When the transition is made from spirit to flesh, the gates are meant to be closed. It’s a kindness. It would be cruel not to. Perhaps the gods forgot; they can be absentminded like that. Not maliciously—at least, not usually. But these are gods, after all, and they don’t care about what happens to flesh, mostly because it is so slow and boring, unfamiliar and coarse. They don’t pay much attention to it, except when it is collected, organized and souled.

By the time she (our body) struggled out into the world, slick and louder than a village of storms, the gates were left open. We should have been anchored in her by then, asleep inside her membranes and synched with her mind. That would have been the safest way. But since the gates were open, not closed against remembrance, we became confused. We were at once old and newborn. We were her and yet not. We were not conscious but we were alive—in fact, the main problem was that we were a distinct we instead of being fully and just her.

So there she was: a fat baby with thick, wet black hair. And there we were, infants in this world, blind and hungry, partly clinging to her flesh and the rest of us trailing behind in streams, through the open gates. We’ve always wanted to think that it was a careless thing the gods did, rather than a deliberate neglect. But what we think barely matters, even being who we are to them: their child. They are unknowable—anyone with sense realizes that—and they are about as gentle with their own children as they are with yours. Perhaps even less so, because your children are just weak bags of flesh with a timed soul. We, on the other hand—their children, the hatchlings, godlings, ọgbanje—can endure so much more horror. Not that this mattered—it was clear that she (the baby) was going to go mad.

We stayed asleep, but with our eyes open, still latched on to her body and her voice as she grew, in those first slow years when nothing and everything happens. She was moody, bright, a heaving sun. Violent. She screamed a lot. She was chubby and beautiful and insane if anyone had known enough to see it. They said she followed her father’s side, the grandmother who was dead, for her dark skin and her thick hair. Saul did not name her after his mother, though, as perhaps another man would have. People were known to return in renovated bodies; it happens all the time. Nnamdi. Nnenna. But when he looked into the wet blackness of her eyes, he—surprisingly for a blind man, a modern man—did not make that mistake. Somehow, Saul knew that whatever looked back out of his child was not his mother, but someone, something else.

Everyone pressed into the air around her, pinching her cheeks and the fatty tissue layered underneath, pulled in by what they thought was her, when it was really us. Even asleep, there are things we cannot help, like pulling humans to us. They pull us too, but one at a time; we are selective like that. Saachi watched the visitors flock around the baby, concern sprouting in her like a green shoot. This was all new. Chima had been so quiet, so peaceful, cool to Saachi’s heat. Disturbed, she looked for a pottu and found one, a dark circle of velvet black, a portable third eye, and she affixed it to the baby’s forehead, on that smooth expanse of brand-new skin. A sun to repel the evil eye and thwart the intentions of wicked people who could coo at a child and then curse it under their breath. She was always a practical woman, Saachi. The odds were good that the child would live. At least the gods had chosen responsible humans, humans who loved her fiercely, since those first few years are when you are most likely to lose them. Still, it does not make up for what happened with the gates.

The human father, Saul, had missed the birth. We never paid him much attention when we were free—he was not interesting to us; he held no vessels or universes in his body. He was off buying crates of soft drinks for the guests while his wife fought us for different liberations. Saul was always that type of man, invested in status and image and social capital. Human things. But he allowed her name and it was later, when we were awake, that we knew that and understood at last why he’d been chosen. Many things start with a name.

After the boy Chima was born, Saul had asked for a daughter, so once our body arrived, he gave it a second name that meant God answered. He meant gods answered. He meant that he called us and we answered. He didn’t know what he meant. Humans often pray and forget what their mouths can do, forget that every ear is listening, that when you direct your longing to the gods, they can take that personally.

The church had refused to baptize the child without that second name; they considered her first name unchristian, pagan. At the christening, Saachi was still as thin and angular as London while Saul’s stomach was curving out a little more than it used to, a settled swelling. He wore a white suit with wide lapels, a white tie lying on a black shirt, and he stood watching with his hands clasped as the priest marked the forehead of the baby cradled in his wife’s arms. Saachi peered down through her thick glasses, focusing on the child with a calm seriousness, her white hat pressing on her long black hair, the maroon velvet of her dress severe at the shoulders. Chima stood next to his father in olive khaki, small, his head reaching only up to Saul’s hands. The priest droned on and we slept in the child as the stale taste of blessed water soaked through her forehead and stretched into our realm. They kept calling a man’s name, some christ, another god. The old water beckoned to him and, parallel to us, he turned his head.

The priest kept talking as the christ walked over, scattering borders, dragging a black ocean behind him. He ran his hands over the baby, pomegranate water and honey under his fingernails. She had fallen asleep as Saachi held her and she stirred a little under his touch, her eyelids fluttering. We turned over. He inclined his head, that foam of black curl, that nutshell skin, and stepped back. They had offered her to him and he would accept; he did not mind loving the child. Water trickled into her ear as the priest called her second name, the god’s answer, the one the church had demanded because they didn’t know the first name held more god than they could imagine.

Saul had consulted with his senior brother while picking out that first name. This brother, an uncle who died before we could remember him (a shame; if anyone might have known what to do about the gates, it would have been him), was named De Obinna and he was a teacher who had traveled into those interior villages and knew the things that were practiced there. They said he belonged to the Cherubim and Seraphim church, and it seems that he did, when he died. But he was also a man who knew the songs and dances of Uwummiri, the worship that is drowned in water. All water is connected. All freshwater comes out of the mouth of a python. When Saul had the sense not to name the child after her grandmother, De Obinna stepped in and suggested the first name, the one with all the god in it. Years later, Saul told the child that the name just meant precious, but that translation is loose and inadequate, both correct and incomplete. The name meant, in its truest form, the egg of a python.

Before a christ-induced amnesia struck the humans, it was well known that the python was sacred, beyond reptile. It is the source of the stream, the flesh form of the god Ala, who is the earth herself, the judge and mother, the giver of law. On her lips man is born and there he spends his whole life. Ala holds the underworld replete in her womb, the dead flexing and flattening her belly, a crescent moon above her. It was taboo to kill her python, and of its egg, they would say, you cannot find it. And if you find it, they would add, you cannot touch it. For the egg of a python is the child of Ala, and the child of Ala is not, and can never be, intended for your hands.

This is the child Saul asked for, the prayer’s flesh. It is better not to even say that her first name.

We called her the Ada.

So. The Ada belonged to us and Ala and Saachi, and as the child grew, there came a time when she would not move on all fours, as most babies do. She chose instead to wriggle, slithering on her stomach, pressing herself to the floor. Saachi watched her and wondered idly if she was too fat to crawl properly, observing her tight rolls of new flesh as they wormed across the carpet. The child crawls like a serpent, she mentioned, on the phone to her own mother, across the Indian Ocean.

At the time, Saul ran a small clinic out of the boys’ quarters of the apartment building they lived in on Ekenna Avenue, Number Seventeen, made out of thousands of small red bricks. The Ada got a tetanus injection at that clinic after her brother, Chima, handed their little sister a piece of wood with a nail stuck in it and said, Hit her with this. We didn’t think she would do it so we were not concerned, but he was the firstborn and she surprised us. We bled a lot and Saul gave us the injection himself, but the Ada has no scar so perhaps this memory is not real. We did not blame the little sister, for we were fond of her. Her name was Añuli. She was the last born, the amen at the end of a prayer, always a sweet child. There was a time when she used to speak in a language no one but us could understand, being fresh as she was from the other side (but whole, not like us), so we would chatter back to her in it and translate for our body’s parents.

Early in the mornings, before Saul and Saachi were awake, the Ada (our body) used to sneak out of the apartment to visit the neighbors’ children. They taught her how to steal powdered milk and clap it to the top of her mouth with her tongue, flaking it down in bits, that baby-smell sweetness. After a few years, Saul and Saachi moved the family down the street to Number Three, which had more bedrooms and an extra bathroom. Eventually Number Seventeen was demolished and someone built another building there, a house that looked nothing like the old one, with no red brick anywhere.

But the red bricks were still standing when Saachi potty trained our body, using a potty with a blue plastic seat. The Ada was perhaps three years old, half of six, something. She walked into the bathroom where the potty was and pulled down her panties, sitting carefully because she was good at this. She was good at other things too—crying, for example, which filled her with purpose, replenished all those little crevices of empty. So when she looked up and saw a large snake curled on the tile across from the potty, the first thing our body did was scream. The python raised its head and a length of its body, the rest coiled up, scales gliding gently over themselves. It did not blink. Through its eyes Ala looked at us, and through the Ada’s eyes we looked at her—all of us looking upon each other for the first time.

We had a good scream: it was loud and used up most of our lungs. We paused only to drag in hot flurries of air for the next round. This screaming had

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