Point of View

Because this is a play, there is no narrative point of view as there would be in a work of prose, or of poetry: there is no first or second person, no omniscient or limited narrator. There is a central character (Mama Nadi), but the story is not necessarily portrayed solely from her point of view. Several key scenes (i.e. Salima’s narrative of her kidnapping and imprisonment) are recounted from the perspective of other characters. In that sense, it could be argued that the narrative point of view is of a sort that is often described as “shifting”, or moving from that of one character to another.

If there is a central point of view to the work, it is thematic rather than narrative, having to do with the issues, ideas, and concerns raised by the story as opposed to the telling of...