A Manual on the Use of Subtext and Subplot 

Following its publication, Kike Ojo’s Fire in the Wind enjoyed only brief publicity. One might wonder why this was the case, but upon closer inspection, her use of subtext and subplot may offer an explanation. 

The success of a book or author often depends on readers’ perception. If a thing goes wrong with the book or the writing style, readers are usually quick to give it a lowly or average mark. Readers also commend a book when it meets their expectation, but opinions about a book can be subjective. A book might be good to reader A, average to reader B, fantastic to reader C, and bad to reader D. However, beyond the opinions of readers, other elements can elevate a book’s status from simply ‘okay’ to ‘outstanding’. Some of these elements include the use of subtexts and subplots within a novel. To what extent can a novel accommodate deviations from its main plot? Do authors consider subtext an integral part of the novel and if so, how skilfully do they use it? Most importantly, how well did Kike Ojo handle these elements in her novel, Fire in the Wind? 

Ojo’s novel simply chronicles the life of Angela Hayford Wusu-Smyth. The entire story is a flashback recounting Angela’s birth, her struggles and successes, and her eventual relocation from Nigeria to Abidjan in Côte d’Ivoire in search of a better life. However, her problems appear to follow her wherever she goes, and thus the story begins. Providing a synopsis of the book proves to be truly cumbersome, and that is precisely where the challenge lies...