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NO1 COMMENT ON THE ROLE OF FOFO..
She is the 14 year old daughter of Maa Tsuru and sister to the deceased Baby T. she stopped schooling at a very tender age due to lack of finance. She could be termed as the heroine of the novel. Fofo is very outspoken, kind, caring and hardworking. Despite the fact that she is compelled to go onto the streets by the mere presence of Kpakpo, she perseveres by finding a menial job to do. Her life at a point in time is paralyzed by the fear of the thick-set leader Macho and Poison the street lord. It is through the courage of Fofo that the mystery behind baby tâ€™s death is unleashed. After she experiences the harsh ups and downs of a street child, she undergoes rehabilitation.
Fofo is the fourth child of Maa Tsuru. She is fourteen years old and lives on the street. She is a dreamer and would often drift away in her own world of fantasy. She is quite brave and intelligent. She tactfully resists Poisonâ€™s rape attempt and disguises as boy to protect herself from further assault by Poison and his gang. Through her character, the reader gets more insight into the circumstances surrounding Baby Tâ€™s death. In other words fofo played the role as Maa Tsuruâ€™s last child with Kwei. The mother and her daughter developed a frosty relationship as the former was viewed by the latter as irresponsible. In the early years of Fofo, before Baby T was sent out to live with Maami Broni, there was close affinity between Fofo and her mother. Fofo worked and whatever she earned on the streets she brought it to her mother, just like all the three other children did. This cast Maa Tsuru in a bad light in the eyes of readers, but not in the eyes of her daughter.
This is incompatible with Bigger's frame of reference, which is locked in the present tense. In this setting of the here and now, there is an immediacy that religion does not address. Bigger cannot bring himself to reconcile his struggles with the present in a larger configuration that religion offers. It is here where Bigger cannot accept religion. Its role is one that is in his life, present in his mother and those who believe in it. Yet, Bigger rejects it because it does not allow him to transform the world to which he is bound. Bigger is a product of the present tense, something for which religion and "the afterlife" cannot fully find use. In the Chicago of the Depression, there is only a struggle for survival in the here and now. Bigger is a product of this, and his instincts for survival are ones that preclude him from embracing religion, which cannot provide explanation as to why things are the way they are in the present. It is for this reason that he ends up rejecting religion as something that will not help him do the one thing that he finds it hard to do: To live.
Theodore is first presented as the peasant whom Manfred wrongfully imprisons for an offhand observation. Well-spoken, noble, and brave, he bears a striking resemblance to the statue of Alfonso the Good. After he helps Isabella escape, he is again imprisoned and sentenced to death until Matilda, with whom he falls in love, helps him escape. Near the end of the novel, Theodore reveals his backstory â€” that he was enslaved by pirates, only to be freed by Christians many years later, and has been working as a farmer in Otranto for the past two years. Father Jerome reveals that Theodore is not only his son but also a direct descendant of Alfonso and the rightful ruler of Otranto. After Matildaâ€™s death, Theodore takes over Otranto and marries Isabella as its rightful ruler â€“ the rightness of his rulership is supported both by his bloodline and by his always-noble behavior. In other words Theodore, a young peasant and the true heir to Otranto. He is imprisoned and nearly executed by Manfredâ€™s order, but with both human and supernatural aid he triumphs, marrying Isabella and becoming the new Prince of Otranto.
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