Mama Orojo is Nii Tackie’s Nigerian sister. She lost connection with her brother during Ghanaian expulsion of aliens some fifteen years earlier. She is an industrious woman with a growing construction company and a confectionary store. Apparently, she needs a man to manage these, and, hence a contributory factor to her search for her long lost brother. She holds no ethnic prejudice; a pointer to why she agrees to marry Joe, a Ghanaian. She is religious and kind-hearted. She is pretty, obviously a delight to men’s hearts. In other words Mama is shocked to find out that Nii lives in a slummy area of town. Nii is nowhere to be found but the neigbours report that Nii had lived there with his wife Massa until some days earlier when they left for God beyond science. Mama and Joe head to the hospital where Massa’s corpse was deposited. They are able to retrieve Massa’s corpse for burial in Sampa, Massa’s village. It is shortly after the burial that Joe is able to finally propose to Mama. Mama soon accepts Joe’s marriage proposal. Then they head to God beyond Science, where they obtain information that Nii had said, among other things, that he was going to Nigeria. Mama intends to return to Nigeria with the hope of finding her brother. Joe would join her later for the marriage rites.

RACIAL DISCRIMINATION;

the narrator of Invisible Man struggles to arrive at a conception of his own identity, he finds his efforts complicated by the fact that he is a Black man living in a racist American society. Throughout the novel, the narrator finds himself passing through a series of communities, from the Liberty Paints plant to the Brotherhood, with each microcosm endorsing a different idea of how Blacks should behave in society. As the narrator attempts to define himself through the values and expectations imposed on him, he finds that, in each case, the prescribed role limits his complexity as an individual and forces him to play an inauthentic part. Upon arriving in New York, the narrator enters the world of the Liberty Paints plant, which achieves financial success by subverting blackness in the service of a brighter white. There, the narrator finds himself involved in a process in which white depends heavily on black both in terms of the mixing of the paint tones and in terms of the racial makeup of the workforce. Yet the factory denies this dependence in the final presentation of its product, and the narrator, as a Black man, ends up stifled. Later, when the narrator joins the Brotherhood, he believes that he can fight for racial equality by working within the ideology of the organization, but he then finds that the Brotherhood seeks to use him as a token Black man in its abstract project. In other words the narrator initially embraces his invisibility in an attempt to throw off the limiting nature of stereotype, in the end he finds this tactic too passive. He determines to emerge from his underground “hibernation,” to make his own contributions to society as a complex individual. He will attempt to exert his power on the world outside of society’s system of prescribed roles. By making proactive contributions to society, he will force others to acknowledge him, to acknowledge the existence of beliefs and behaviors outside of their prejudiced expectations.