Questions below are based on Bolaji Abdullahi's "Sweet Sixteen" It may be argued that Chapter Two is titled, "The Drive" particularly because...?

Analyzing the question

This is a literature-in-English question on Bolaji Abdullahi's Sweet Sixteen. It asks why Chapter Two might be titled "The Drive." Questions like this usually have one option that connects the title to the chapter's central content, rather than to a trivial detail or a side theme.

Recalling the concept

In Sweet Sixteen, Chapter Two centres on the car journey in which Aliya's father, Mr Bello, drives with her. The drive is a setting where:

• Aliya's thoughts and observations unfold,
• she and her father share conversation and moments,
• the social realities around them are noticed (such as the contrast between different people's circumstances).

So the title points to the experiences and realities revealed during the drive, not just to the physical act of driving.

Evaluating the options

• A. Social disparity that is unlikely to end: This is a theme that may come up in passing, but it is too narrow and too negative to explain the title. It also makes a sweeping claim ("unlikely to end") that the title doesn't support.
• B. Aliya's father drove her home from the boarding house: This is just a plot detail. It is too literal, and the question asks for a reason that goes deeper ("it may be argued...").
• C. It indicates the realities and experiences shared during Mr Bello's drive with Aliya: This is broad and accurate. It ties the title to the chapter's content, namely the interaction between father and daughter and what the drive reveals.
• D. It was the best atmosphere for Mr Bello to scold Aliya: This is too specific and doesn't fit the tone of the chapter. The drive is not mainly about scolding.

Answer

The title "The Drive" works as a frame for the experiences and realities shared during the journey.

Exam tip: For "why is the chapter titled..." questions, choose the option that links the title to the chapter's overall content. Avoid options that are too narrow (one theme) or merely literal (one plot detail).