In Half of a Yellow Sun, Chimamanda Ngozi Adichie attempts to use history to leverage the present, to subvert the single-history stereotypes that dominate many contemporary discourses on Africa . Written in the genre of historical fiction, Adichie's novel transcends mere historical narrative and recreates the polyphonic experiences of various groups of people in Nigeria before and after the civil war. He uses time warp in his narrative, distorting time to illustrate the intertwined effects of the past and present, diving deeply into the impact of Western domination that not only catalyzed war, but continues to influence contemporary Africa. In this article I will analyze his representation of the multifaceted culture produced by colonialism, which blends elements of traditional African culture with notions of Western modernity to varying degrees. I will argue that Adichie uses a series of characters, including Odenigbo's mother, Ugwu, Olanna, and Kainene, to each represent a point on the spectrum between tradition and modernity. Through its juxtaposition, it undermines the stereotypes that continue to characterize Africa as backward and traditional, demonstrating instead that colonialism has produced a transversal culture in which the two are intertwined. Adichie portrays the persistent existence of traditional African culture through Odenigbo's mother, who symbolizes the ultimate end of traditional beliefs. When Odenigbo's mother visits Odenigbo and Olanna in their apartment in Nsukka, she is immediately personified as the traditional Nigerian village woman. Not accepting modern attitudes and advances, he "peered suspiciously at the stove, knocked on the pressure cooker and tapped on the pans... in the middle of the paper... representations of traditional and modern beliefs in various ways" the diplomas illustrate the importance of both in contemporary Nigerian culture, as well as Africa as a whole, and how both are intertwined and cannot exist without the other. Indeed, it cleverly subverts stereotypes or singular perceptions of Africa as backward and traditional, instead demonstrating Africa's multifaceted culture. It also illustrates that neither traditional African nor Western culture is necessarily harmful. It is the stark contrast of fundamental cultures that inevitably leads to clashes and disagreements. Ultimately, what holds African countries like Nigeria together is their shared pride. Modern and Western influences can bring positive changes to society, but new cultures cannot completely eradicate the fundamental cultures on which a society is founded..