The novel's conclusion offers a glimmer of hope, though it also demonstrates that Kangan's political chaos cannot be fixed with straightforward solutions. The people long for transformation and peace but are unsure how to form a competent government, especially when each new leadership is composed of those who ousted the last one. This cycle is maintained by sheer force rather than fairness, ideology, or reverence for the nation. Despite the absence of political rights, the novel emphasizes the strong and lasting sense of community among the populace. Achebe suggests that this unity is what safeguards the community's heritage and culture, even in the face of oppressive political regimes.

Through the character of Sam, Anthills of the Savannah embodies the saying, "Power corrupts, and absolute power corrupts absolutely." Unqualified for leadership outside the military sphere, Sam rises to become the president of Kangan. Delighting in his newfound authority, he insists on being called "Your Excellency" and dreams of being elected President-for-Life. He alienates himself from Kangan's citizens, placing heavy reliance on his Cabinet, all while belittling them. In the end, his fixation, paranoia, and insecurity consume him, driving him to order the murder of his childhood friend Ikem, whom he views as a threat.

At the novel's beginning, Sam is referred to as a "baby monster," but as the plot unfolds, he transforms into a complete tyrant. Achebe highlights the dangers of pursuing power blindly at the cost of the community. Sam's neglect of the people he is supposed to lead results in their suffering.

In Anthills of the Savannah, the themes of stories, narratives, and the storyteller are central. Achebe emphasizes that "the story is everlasting" and that "storytellers are a threat." The novel's three main characters are all involved in writing: Ikem is a writer and newspaper editor, Beatrice writes short stories, and Chris, a former journalist, left his position as editor of the National Gazette to become the Commissioner of Information. An elder from Abazon discusses the timeless and crucial role of the storyteller. He notes that in his youth, he might have thought battles were most important, but with age and wisdom, he realizes the story holds greater power. Stories allow a community to preserve its history, maintain traditions, and find direction for the future. He states, "Because it is only the story that can continue beyond the war and the warrior … The story is our escort; without it, we are blind." Later, when Ikem speaks to a group of students, he expresses his belief that a writer's duty is to pose questions rather than offer solutions. Some critics believe this reflects Achebe's approach in the novel.

The power of writing is highlighted when Ikem is kidnapped and killed under the cover of night. To spread the truth about what happened, Chris uses his connections in the international press to inform the world about Ikem's fate.

Anthills of the Savannah is often celebrated for its portrayal of strong and believable female characters. Despite the political chaos and injustice surrounding them, these women stay true to their heritage and culture, showcasing moral strength and sensitivity. Ikem shares with Beatrice his newfound respect for the role and significance of women in today's society. He recognizes that women are the most oppressed group worldwide and highlights their crucial importance to the nation's future.

At the novel's end, a naming ceremony is held for Elewa's baby girl. Traditionally, this role is performed by men, but in this instance, Beatrice steps up to the task. This moment highlights women as the guardians of tradition, even when that tradition must adapt to modern...

Corruption in Nigeria has transformed into a sophisticated, high-tech, and institutionalized system. The generals' enforcers have been elevated to military ranks and trained in Latin America. Their tactics have become more advanced, with the notorious Ossai able to force confessions through torture using simple tools like office staplers. This makes earlier enforcers such as Dogo and Boniface from A Man of the People (1966) appear inexperienced and ineffective. At the start of the book, a public execution of supposed criminals draws large crowds, including children. Ikem, the narrator of this part, notes that these "criminals" merely imitate the actions of national leaders who "brazenly pillage" the treasury.

The looting has become increasingly intricate and polished. The Presidential Retreat, funded through illicit means, is accessible via a spiral-shaped road (perhaps reminiscent of the Tower of Babel?) and is bordered by a vast artificial lake. This retreat is Chief Nanga's opulent seven-bedroom mansion. Though it is visually stunning, Beatrice remembers Ikem's criticisms, which remind her that the people lack access to clean drinking water. In sharp contrast to the Retreat and its symbolism is the myth of Idemili, later narrated in Beatrice's section. Idemili, a deity associated with water and hunting and the sun's daughter, descends in a column of water to "clothe Power's coarse waist in a garment of peace and humility," allowing the River Niger to wind through the land, providing water to the populace. The Idemili myth emphasizes the larger theme of women's restorative power.

Scams for personal gain at the public's expense are widespread, even among lower-level government workers. Civil servants receive regular salaries for doing minimal work, demanding to be driven in Mercedes rather than Peugeots.

Radio stations and newspapers are, as expected, subject to censorship. Despite this, Ikem frequently finds ways to release information and give speeches, such as his significant talk at the University of Bassa titled "The Tortoise and the Leopard—a political meditation on the imperative of struggle." By the conclusion of the novel, censorship has intensified to outright fabrication and deception, with officials openly denying any involvement in the killings of Chris and Ikem.

The writer's role, along with the significance of storytelling, goes beyond merely recounting events. They provide an ethical and spiritual framework for both the characters and the audience. This is a central theme in the narrative. The contrasting myths of Idemili and Ikem's "Hymn to the Sun" are crucial for understanding the realities and dreams that Achebe expresses about Nigeria. Both characters and readers become deeply involved in these events.

Additionally, since all three main male characters are writers, the importance of writing and public speaking in politics is a recurring theme throughout the novel. Innes notes that at first, "effective writing and speech are considered those directed towards people in power," but as the story progresses, these become tools for introspection and reaching a larger audience, essentially the entire electorate.

Women, especially Beatrice and the down-to-earth, pidgin-speaking Elewa, are pivotal as custodians of Chris's and Ikem's writings following their deaths. Their link to storytelling enhances their significance beyond simply being romantic partners. By the end of the novel, despite the tragic loss of their men, the women emerge into prominence.

Earlier novels often highlighted the tension and occasional merging of religious beliefs, but this theme appears less prominent here. Nevertheless, the story continues to offer an ethical critique of the country's situation from both Igbo and Christian perspectives. The initial scene, featuring a leader, followers, and a sense of betrayal, draws parallels to the Last Supper. As in previous works, overly literal religious devotion is ridiculed. For example, Beatrice's servant, Agatha, belongs to a fundamentalist group called the Yahweh Evangelical Sabbath Mission, Inc. (YESMI), hinting at the church's corrupt nature. She mirrors the senseless Oduchi. While the primary characters do not display overt religiosity, the narrative is enhanced by a spiritual dimension through Christian and Igbo myths and legends. As Achebe notes at the start of the Idemili chapter: ‘‘That we are surrounded by deep mysteries is known to all but the incurably ignorant.’’