A BABBAN GIDA

By Fadimatu Adamu Hassan (Diamond Bhatool)

A house may have many rooms, several people living under one roof, and the appearance of a complete family, yet none of these guarantees that love, peace, or kindness exists within its walls. Sometimes, the people who should offer protection become the very source of suffering, while strangers show the compassion that those closest to us have long denied us. Behind the doors of a seemingly ordinary home, cruelty can become a daily routine, silence can conceal years of pain, and the innocent can find themselves fighting battles they never chose. This is the world that begins to unfold in A BABBAN GIDA, a compelling Hausa family drama that explores love, betrayal, injustice, courage, and the complicated relationships that shape life within an extended family.

Written by Fadimatu Adamu Hassan, popularly known as Diamond Bhatool, A BABBAN GIDA introduces readers to a story in which family relationships are far more complicated than they appear. It is a tale of people whose lives are connected by blood, marriage, affection, and circumstances, but whose actions reveal very different understandings of responsibility and humanity. At its heart lies the painful experience of a mother and her young daughter, two vulnerable individuals struggling to find dignity and security in an environment where kindness is scarce and cruelty has become familiar. Their circumstances raise difficult questions about marriage, family obligations, the abuse of authority, and the consequences of allowing selfish interests to take precedence over another person's well-being.

The story opens with an unsettling scene that immediately establishes the emotional atmosphere of the novel. Under the scorching morning sun, in a modest house with a weathered iron gate and an uncomfortable atmosphere outside, a woman and her young daughter are being subjected to physical abuse by a man who should have treated them with care. The woman, known as Mamah, is helplessly enduring another painful episode, while her daughter, Zahrah, refuses to remain silent. At barely ten years old, Zahrah already possesses a remarkable boldness and an unusually strong sense of justice. She cannot understand why someone who has done nothing to deserve such treatment should continue to suffer at the hands of another person.

Her anger is directed at Kawu, the man responsible for their suffering. Rather than accepting his treatment quietly, Zahrah confronts him with the kind of defiance that makes it clear she has little patience for injustice. She openly challenges him, condemns his behaviour, and insists that he will eventually answer for the pain he causes them. Her words may sound disrespectful to an adult who expects unquestioning obedience, but behind her stubbornness is a child who cannot bear watching her mother being humiliated and beaten.

Mamah, however, sees the situation differently. Although she is deeply hurt by what is happening, she is also concerned about Zahrah's growing habit of confronting people without considering the consequences. She repeatedly attempts to correct her daughter's behaviour, reminding her that she is still young and that the world can be unforgiving to someone who lacks patience and restraint. Mamah understands that Zahrah's courage is not necessarily a weakness, but she fears that the same boldness that makes her defend others could eventually place her in even greater danger.

This relationship between mother and daughter provides one of the most emotionally significant foundations of A BABBAN GIDA. Mamah is a woman whose suffering has not completely destroyed her tenderness. Despite her own difficult circumstances, she continues to guide her daughter, teach her acceptable behaviour, and pray that she grows into someone capable of navigating the world without losing herself. Zahrah, on the other hand, is still learning how complicated adult relationships can become. She sees injustice and wants it stopped immediately. She does not yet understand all the hidden pressures that make her mother tolerate situations she herself would never willingly accept.

Yet the most troubling question surrounding their household is not simply why Kawu treats them so harshly. It is why he seems determined to make their lives unbearable in the first place.

Kawu is not presented as an ordinary difficult relative whose unpleasant personality occasionally creates tension. His behaviour suggests a deeper problem, one connected to interests and intentions that extend beyond the immediate household. When he leaves the house after another confrontation with Zahrah, he returns to the group of questionable individuals who regularly gather outside his residence. Among them are Baba Mola, Ale Kabir, and a man known as Ɗan Baƙi. Their conversations reveal a side of Kawu that makes his treatment of Mamah and Zahrah even more disturbing.

He does not merely complain about the little girl. He sees her as an obstacle to something he wants to accomplish. His discussions with Baba Mola expose a troubling interest in Zahrah's future, one that has nothing to do with her education, happiness, or welfare. The suggestion that she could be taken to a marriage arrangement despite her tender age introduces a frightening dimension to the story. Even more unsettling is the revelation that Kawu considers her valuable for reasons connected to his own ambitions and an agreement involving another influential person.

For Zahrah, the household is simply a place where she and her mother are constantly mistreated. For readers, however, the circumstances begin to suggest that there may be much more happening behind the scenes than the young girl can understand. Why is Kawu so determined to control her? What does he stand to gain from her future? And what is the mysterious agreement that makes him consider her something that can be used for his own benefit?

These questions establish an atmosphere of suspense that gives the family drama an additional layer of mystery.

Zahrah herself is a particularly memorable character because she does not fit the image of a quiet, submissive child. She is outspoken, energetic, stubborn, and sometimes unnecessarily confrontational. Her temper frequently gets her into trouble, but her actions also reveal a child who has grown up watching injustice without having the power to stop it. She is still capable of the playful excitement and innocence expected of her age, yet the circumstances surrounding her have already forced her to develop an unusually strong defensive attitude.

Her personality becomes even more apparent when she leaves the house and encounters other children in the neighbourhood. A seemingly ordinary playtime quickly turns into another confrontation when a boy throws sand at her. Zahrah responds with such intensity that she begins beating him while refusing to let go, despite the efforts of an elderly passer-by to separate them. Her behaviour is excessive, but it demonstrates how easily her emotions take control when she feels provoked.

It is during this incident that the story introduces another important character, Ishaq.

Driving through the neighbourhood in his Mercedes-Benz, Ishaq notices the commotion and stops when he sees a little girl overpowering another child. Rather than ignoring the situation, he approaches and separates them. His first encounter with Zahrah is unexpected, and her unusual personality immediately catches his attention. Instead of reacting to her with hostility, he speaks to her calmly and attempts to understand her.

Ishaq is a young man from a very different background. He is the son of a Chancellor, has completed his studies in Mass Communication, and is preparing to travel to America for his master's degree. His circumstances place him in a position of considerable privilege compared with the difficult life Zahrah and her mother are experiencing. Nevertheless, what distinguishes him is not simply his family background or material comfort, but the concern he begins to show towards a child he has only just met.

Their first conversation is filled with an interesting mixture of humour, innocence, and curiosity. Ishaq affectionately calls Zahrah his little cutie and asks about her education. When he discovers that she attends a government primary school and has a rather dismissive attitude towards her studies, he offers to help her move to a private school. Zahrah immediately becomes enthusiastic about the suggestion, demonstrating the simple excitement of a child who has been presented with an opportunity she never imagined could be available to her.

However, the conversation gradually takes a more serious direction when Ishaq asks about her family. Zahrah tells him that her biological father is dead and that she lives with Mamah and Kawu. She also reveals that Kawu frequently beats both her and her mother.

For Ishaq, these revelations are difficult to ignore. What initially appeared to be an ordinary encounter with a troublesome but amusing little girl becomes an introduction to a painful family situation. He begins to understand that Zahrah's unusual temperament may have developed within an environment where she has rarely experienced the security and affection every child deserves.

Rather than dismissing her complaints as childish exaggeration, Ishaq takes an interest in what she tells him. His decision to help her is not based on a long-standing relationship or family obligation. He has simply encountered someone in need and feels compelled to do something about it.

His next decision brings him closer to the person whose circumstances matter most: Mamah.

Through Zahrah, Ishaq learns that her mother works tirelessly to sustain their household. Mamah sells masa at the market, and the money she earns is essential for their daily survival. She also takes on laundry work, including washing clothes for the Chancellor's household, in an effort to provide for herself and her daughter. The money she earns helps her purchase Zahrah's clothes, particularly during festive periods, and contributes to the food they manage to eat at home.

What makes this arrangement especially heartbreaking is Kawu's refusal to provide for them properly. Although he lives in the same household, he does not fulfil even the basic responsibility of ensuring that Mamah and Zahrah have food. He can return home carrying provisions and refreshments for himself while leaving them to depend on the limited income Mamah manages to earn.

This contrast reveals the extent of their hardship. Mamah is married into a household where the ordinary expectations of companionship, protection, and financial responsibility have become almost meaningless. Instead of finding comfort in marriage, she is forced to struggle for necessities while enduring the humiliation of living under the authority of someone who appears determined to make her life difficult.

Her situation also raises a broader question about the meaning of family. What does it mean to share a home with someone who refuses to recognise your suffering? How can a household be called a family environment when those within it are denied the most basic expressions of care?

These questions are central to the emotional appeal of A BABBAN GIDA.

When Ishaq finally meets Mamah at her small market stall, the encounter is particularly significant. Mamah is initially surprised by his presence, especially when she recognises that he belongs to the Chancellor's household. She has little reason to expect that a young man from such a privileged background would take a personal interest in her circumstances.

Ishaq approaches her respectfully, greets her, and explains that he would like her to regard him as a son. He assures her that his intention is to support her and Zahrah rather than cause them harm. His manner is noticeably different from the treatment they have become accustomed to receiving from Kawu.

His willingness to help is demonstrated through his actions rather than empty promises. He assists Mamah with her market work, serving customers and helping with the masa until the evening. He does not behave as though the work is beneath him, nor does he appear embarrassed to be associated with a woman whose livelihood depends on a modest roadside business. He even helps arrange the transportation of her goods when it is time to return home.

For Mamah, the experience is deeply emotional. It has been a long time since she enjoyed such consideration, and the simple experience of being treated with respect brings back memories of an earlier period in her life. She remembers when she first entered the household of her beloved Abdulkarim Kuru, a time when she believed her future would be free from the hardship she now experiences.

That memory introduces another important element into the story: Mamah's past and the circumstances that brought her into her present marriage.

Her emotional reaction suggests that the difficulties she faces are not merely the result of temporary disagreements. There is a history behind her current position, and her memories of the past create a sense that the relationships within this family are far more complicated than they initially appear.

The novel does not present Mamah simply as a helpless woman waiting for someone else to rescue her. Her endurance, commitment to her daughter, religious devotion, and determination to keep providing for her household reveal a woman who continues to struggle despite having very little support. She may not possess the freedom to challenge every injustice openly, but she has not abandoned hope.

One of the most touching aspects of her character is her reliance on prayer. Even after another painful encounter with Kawu, she does not allow despair to become her final response. When he returns home late at night, intoxicated and aggressive, he pushes past her with the same disregard that has characterised their relationship. Once again, Mamah is left alone with her tears.

Yet rather than surrendering to bitterness, she performs ablution and begins offering voluntary prayers, asking Allah to bring relief into her life.

Her faith becomes an important emotional thread in the narrative. It reflects the quiet strength of someone who may be unable to control the people around her but still believes that her circumstances are not beyond the power of Allah. The story's religious reflections reinforce the importance of patience, supplication, and maintaining hope during difficult periods.

Ishaq's involvement, meanwhile, begins to offer a possible change in the lives of Mamah and Zahrah. His promise to help Zahrah obtain a better education brings genuine happiness to Mamah. For a mother who has spent so much time worrying about her daughter's future, the possibility of sending her to a private school is more than a financial improvement. It represents an opportunity for Zahrah to receive the education and attention she deserves.

Mamah's gratitude is overwhelming. She struggles to express how much the offer means to her, while Ishaq himself becomes embarrassed by the intensity of her appreciation. His response suggests that he sees his actions as something natural rather than an extraordinary sacrifice.

But even as this new source of hope emerges, another concern becomes increasingly difficult to ignore.

Ishaq's kindness is entering a household controlled by someone who does not appear willing to tolerate interference. Kawu has his own interests, and his conversations with his associates suggest that he is already pursuing an agenda involving Zahrah. The arrival of someone willing to challenge the family's existing circumstances could therefore create consequences that neither Mamah nor Ishaq fully anticipates.

The contrast between the two men is particularly striking. Ishaq sees Zahrah as a child who deserves protection, education, and affection. Kawu, on the other hand, appears to view her through the lens of personal advantage. Where one sees a future worth nurturing, the other sees an opportunity to exploit.

This conflict introduces one of the novel's strongest underlying themes: the difference between possessing authority over someone and genuinely caring for them.

A person may occupy the position of a guardian, husband, elder, or relative, but such titles do not automatically make that person deserving of respect. Real family responsibility requires compassion, fairness, and a willingness to protect those who depend on you. A BABBAN GIDA examines what happens when those responsibilities are neglected and when the people who should provide security become the source of fear.

The title itself, A BABBAN GIDA, evokes the idea of a large household or an extended family. Such a setting naturally brings together different personalities, expectations, loyalties, and competing interests. Within a big family, relationships can be a source of tremendous support, but they can also become complicated by jealousy, selfishness, manipulation, and the abuse of influence.

The opening chapters introduce readers to precisely this kind of complicated family environment. The household is not defined by its physical structure alone. It is shaped by the relationships between those who live within it, the history they share, and the decisions they make when confronted with another person's vulnerability.

The presence of the Chancellor's household adds another dimension to this setting. Ishaq comes from a background that provides him with educational and financial opportunities unavailable to Zahrah. Yet his encounter with her demonstrates that privilege does not necessarily prevent someone from recognising the suffering of others. His willingness to cross the social distance between their two worlds creates an important connection that could influence the direction of the story.

There is also a compelling contrast between Zahrah's outward confidence and her actual vulnerability. She is quick to fight, quick to answer back, and often unwilling to accept correction. However, beneath this bold exterior is a little girl who wants the simple things that should never have been difficult to obtain: a peaceful home, a mother who is not constantly threatened, an opportunity to attend a good school, and the reassurance that someone cares about her future.

Ishaq's affectionate treatment gives her a glimpse of another kind of relationship. His playful manner and willingness to listen make her comfortable enough to reveal things about her household that she might otherwise keep to herself. Their developing bond is one of the warmer elements of the opening chapters, bringing moments of tenderness into a narrative otherwise dominated by hardship.

It is important, however, to understand this relationship through the circumstances presented in the story. Ishaq initially approaches Zahrah with the protective affection of an older brother, calling her cutie and expressing a desire to help improve her life. His role at this stage is that of a compassionate young man who recognises a child's need for support.

The novel's wider themes of love and betrayal suggest that relationships throughout the story will not always be straightforward. Affection can create loyalty, but it can also expose people to disappointment. Trust can bring people together, yet misplaced trust can become the beginning of suffering. The people who appear closest to a person may not always have that person's best interests at heart.

These themes give A BABBAN GIDA a strong foundation as a Hausa family drama, particularly for readers who enjoy stories involving complicated household relationships, emotional struggles, betrayal, and the search for justice. Its narrative also touches on social issues such as child welfare, the importance of education, financial neglect within marriage, and the treatment of women in difficult family circumstances.

Another quality that makes the story engaging is the way it balances serious issues with the natural behaviour of its younger characters. Zahrah's stubbornness, her amusing responses, her excitement about Ishaq's attention, and her playful interactions with other children prevent the narrative from becoming emotionally monotonous. Her character brings energy to the story, even when her actions create additional problems.

Mamah provides the emotional contrast. She is quieter, more restrained, and far more conscious of the consequences that can follow an argument. Where Zahrah reacts immediately, Mamah often absorbs her pain and attempts to preserve whatever stability remains in their lives. Their different personalities create a believable mother-daughter dynamic, one in which love is sometimes expressed through disagreement, correction, and concern for the future.

Ishaq represents another kind of contrast: someone who has the means to help and, importantly, the willingness to notice when help is needed. His presence introduces a possibility that Mamah and Zahrah's lives might not always remain as difficult as they are at the beginning. Yet the question is whether kindness alone will be enough to change circumstances shaped by deeply rooted family interests.

And what of Kawu?

His intentions remain one of the most troubling mysteries introduced in the opening chapters. His association with the men who gather outside his house, his apparent interest in Zahrah's future, and the mysterious promise involving another person all suggest that his actions are motivated by more than ordinary family disagreements. His hostility towards Mamah and Zahrah is already painful, but the possibility that he may be pursuing a calculated plan makes the situation even more disturbing.

Mamah may understand that her household is unsafe, but does she know the full extent of what is being discussed behind her back? Does Zahrah's outspoken nature place her in greater danger than she realises? And will Ishaq's intervention bring the relief he hopes to provide, or will it expose him to a conflict he has not yet understood?

These unanswered questions give the opening of A BABBAN GIDA its suspenseful quality. The story establishes its characters and their immediate circumstances while leaving enough uncertainty to make readers curious about what lies ahead.

For lovers of Hausa novels, particularly those who appreciate realistic family relationships and emotionally driven storytelling, this is a narrative with several compelling points of interest. It brings together the tenderness of maternal love, the innocence of childhood, the consequences of cruelty, the value of education, and the complicated nature of extended-family relationships. It also explores how a single act of kindness can introduce hope into a life that has become accustomed to disappointment.

Readers searching for an engaging Hausa novel about family conflict, betrayal, difficult marriages, and the struggle for a better future will find these themes woven into the foundation of the story. A BABBAN GIDA is not simply about people living together in one household. It is about the responsibilities that come with family relationships and the painful consequences when those responsibilities are ignored.

The novel also offers an opportunity to reflect on the importance of recognising children's vulnerability. Zahrah may be bold, but she is still a child. Her education, safety, and emotional development should never become bargaining tools in the hands of adults pursuing their own interests. Through her circumstances, the story draws attention to the need for responsible guardianship and the importance of giving children an environment in which they can grow without fear.

For Mamah, the struggle is deeply personal. She is attempting to protect her daughter while surviving a household that offers little comfort. Her work at the market and her commitment to providing for Zahrah demonstrate that motherhood is not measured by the ease of one's circumstances but by the sacrifices made for a child's well-being. Even when she is exhausted, humiliated, and emotionally wounded, she continues to think about her daughter's future.

For Ishaq, the encounter with this mother and daughter may become more significant than he initially expects. His offer to help Zahrah attend a better school is a simple gesture, but in their circumstances, it carries enormous meaning. It also brings him into contact with a family situation that may challenge his understanding of the people around him.

And for Zahrah, the future remains uncertain. She is a little girl with a strong personality, a quick temper, and a heart that cannot bear to watch her mother suffer. Whether she will learn to balance her courage with wisdom, and whether the people around her will allow her the opportunity to experience a more secure childhood, are among the questions that make her journey worth following.

A BABBAN GIDA by Fadimatu Adamu Hassan (Diamond Bhatool) invites readers into a world where family ties can be both a source of connection and a cause of conflict. It is a story of love tested by betrayal, courage challenged by cruelty, and hope emerging from circumstances that seem determined to destroy it. Its opening chapters introduce an emotional struggle that reaches beyond one household, encouraging readers to consider the meaning of family, the value of compassion, and the responsibility that comes with having power over another person's life.

“A home becomes a family not because people share the same roof, but because they share responsibility for one another. Where compassion disappears, even the biggest house can become the loneliest place to live.”

If you enjoy reading captivating Hausa novels filled with family drama, emotional depth, suspense, and meaningful life lessons, A BABBAN GIDA is a story worth discovering. Follow Mamah and Zahrah's difficult journey, witness the unexpected kindness that enters their lives through Ishaq, and uncover the complicated relationships and hidden intentions surrounding the household.

The real story of this big family is only beginning, and behind its doors lie questions that cannot be answered by looking at appearances alone.