Henry Ole Kulet’s Daughter of Maa is a hybrid of both worlds – traditionalism and modernism. Ole Kulet narrates the story of Seleina, a beautiful village girl, who is scheduled to marry Joseph Ole Malon according to Maa traditional customs. The marriage, like most African communities, is solemnised through an enkaputi. An enkaputi is a traditional agreement that brings together family members of both the bride and bridegroom; in this case Ole Mugie’s and Ole Malon’s family. However, it is the arrival of one Anna Nalangu that changes everything and brings the small Maa village to an endless standstill. Those who have read Elechi Amadi’s classic The Concubine will readily identify with the character of Nalangu. Like Ihuoma in Amadi’s text; Nalangu has that bewitching beauty and tempting allure that drives both young and old men bonkers. In Maa village where there’s only a single shop that sells a few items and beer, and boredom ever constant, elders will do everything to attract the attention of this social worker and teacher. Ann Nalangu is also seen as a threat by the Maa women because since her arrival, the elders no longer concentrate on their roles and responsibilities. Elders such as Ole Masi, Ole Ngasharr, and even Ole Mugie want to visit Ole Ngasharr’s off-license shop where they can ogle at Nalangu as she enters her small car after teaching the women folk.