Vivek is introduced as a ghostly figure, as his narration is spoken from beyond the grave. While the novel follows the circumstances of his death, Vivek’s post-death narrative comes in short but powerful interjections. Vivek’s death is the organizing force behind the narrative, with all of his extended community responding to that death. This allows the reader to experience many different perspectives on Vivek.

Early on, the reader understands that Vivek dissociates through periodic blackouts. While Osita views these blackouts as a cause for concern, Vivek sees them as “small mercies,” or breaks from a world in which he is often misperceived as a man or implored (often under implicit threat) to be more masculine. Throughout the novel, Vivek displays wisdom about human nature. In Chapter 12, Vivek does not internalize others’ prejudice, instead wondering why men seem to respond aggressively to Vivek’s delicacy in public yet demand pleasure from him in private. In Chapter 14, after penetrative sex Osita, Vivek expresses his disinterest in traditional gender roles, reflecting on Nigerian society’s hatred for men who allow penetration by other men; these men who welcome penetration routinely endure emasculating vilification. Of his perceived masculinity, he says, “They can have it.