A corrupt vicious cabal’s bold demand for kick-backs on a foreign-funded Cultural Regeneration Project forces OLA to flee to Europe to escape mortal reprisals; his family’s landed properties are confiscated, leading to his old parents’ premature deaths. His fate is intertwined with ALICE BECKWITH’S, orphaned, a researcher of the “Nuptial Chants” – seasonal festival of adolescent girls’ group weddings. She’d saved 13 year-old school girl, ENITAN, the subject of her study, from being sold to human traffickers by her prospective husband, who unleashes terror on the interfering American; and whom OLA helps to flee the country with him. A one-night stand fortuitously results in her conceiving, and the birth of an uncommon set of fraternal twin-girls, AMABELLE, Caucasian clone of her mother, and AMANDA, queenly attractive African. The following sixteen years in London feature the couple’s unplanned experiment in raising two distinctly different children with opposite racial personalities. The rebellious blue-eyed blonde leaves for university education in the USA while her amiable sister remains in Europe; she unknowingly carries a pregnancy by her Caucasian boyfriend to California. The embattled 16 year-old travels cross-country to a New York clinic, delivers a brown-skin male baby she instantly abandons at a church-front in New Rochelle, NY, and returns to continue her studies in California. The less than a day-old baby is, fortunately, rescued and raised in a loving old family who names him Johnny Williams, gives him the opportunities to attain his desired educational goals. Johnny is born with tangled hair that makes him ill whenever touched with a comb. He wears his hair braided and appropriately adopts DADA, a Yoruba identifying name as a teenager, hopes to find his birth mother who he imagines has to be Yoruba. He meets Prof. OLA KOGA, the curator of an exhibition of Yoruba Culture and Arts at London Museum, and a mutual fascination begins between them. They are to meet again in New York few years later when Professor and Mrs. KOGA have relocated to New York. AMANDA too, works with a U.N. agency; a single mother to two young girls that are inexplicably clones of her own mother, Alice; this contributes to her becoming a single mother. DADA and Professor OLA’S paths crosses formally when the producer of Dada’s proposed Yoruba fable musical insists on having the original author of the Dada’s fable to consult with the producing company. DADA and Professor become friends during which DADA confides his life story as an abandoned child to him. Things get mysterious when in the gradual process, DADA reveals his troubled mind, his incessant dreams and nightmares to Professor KOGA, who incredulously identifies DADA’S dreams, in mind-boggling details of stories that his own late father had told him as a young boy. Yet there’s no credible way to connect to this lately mysterious young man. It takes until the opening night of the Broadway presentation of the ORI-Destiny fable musical. AMABELLE, invited by virtue of being the editor of Woman’s magazine almost does not attend except that she can’t live with herself after reading detailed biography of the young orphan credited with the Broadway show “Story Idea”. DADA is the child she’d abandoned two decades earlier in New Rochelle, New York. Yet, with her own father’s name credited as the production’s “Artistic Consultant”, AMABELLE has no way to reconcile the coincidence, even though no relationship is so far hinted or imagined by even her own family. The protagonist, wife and grandma, Alice Beckwith, aptly reflects on her experiences of Yoruba culture.