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Ifemelu can feel herself changing as begins to date Curt—figuratively, at least, as this example of simile from Chapter 18 suggests. After Kimberly’s dashing cousin asks her out, she begins to notice the differences:
She was lighter and leaner; she was Curt’s Girlfriend, a role she slipped into as into a favorite, flattering dress. She laughed more because he laughed so much. His optimism blinded her.
The novel uses the simile of swapped clothes to literalize Ifemelu’s sense of change. Curt has broadened her sense of possibility—and with it, her identity. Through his help she earns a job, gets a foothold in America, tastes optimism and opportunity for the first time. His relentlessly upbeat attitude broadens the horizons of what is possible. Freed from her knots and worries, Ifemelu becomes “a woman running in the rain with the taste of sun-warmed strawberries in her mouth.”
Personalities, self-perceptions, and life outlooks may indeed shift as quickly as a wardrobe upgrade. By implying as much, the simile allows the novel to explore the relationship between identity, class, and race. Americanah holds up the slippery workings of an ever-shapeshifting self, revealing how it changes in new contexts. Obinze sheds his dignity like a “wrapper” in the Manchester airport’s halls. Ifemelu’s father wears his polished, verbose self like a “costume,” a “shield against insecurity.” Through dresses and miniskirts, the novel interrogates the ways in which identity responds to larger social forces and surroundings.












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Common Core-aligned