Chimamanda Ngozi Adichie

Nigerian writer (born 1977)

Chimamanda Ngozi Adichie

at 2013 Fall for the Book

Born|

Grace Ngozi Adichie

(1977-09-15) 15 September 1977 (age 47)

Enugu, Enugu State, Nigeria

Alma mater|

* Eastern Connecticut State University (BA)
* Johns Hopkins University (MA)
* Yale University (MA)

Occupations|

* Writer
* public speaker

Years active| 2003–present
Notable work| Purple Hibiscus (2003), Half of a Yellow Sun (2006), "The Danger of a Single Story" (2009), Americanah (2013), We Should All Be Feminists (2014), Dream Count (2025)
Spouse|

Ivara Esege

(m. 2009)​

Children| 3
Awards| Full list
Website| www.chimamanda.com

Chimamanda Ngozi Adichie[b] (born Grace Ngozi Adichie[1]; 15 September 1977) is a Nigerian author. She has written five novels, two collections of short stories, one memoir, and many articles and short stories for many newspapers, magazines, and periodicals. She is widely regarded as a central figure in postcolonial feminist literature.

Born into an Igbo family in Enugu, Nigeria, Adichie was educated at University of Nigeria in Nsukka where she studied medicine for a year and half. Adichie left Nigeria at the age of 19 to study at Drexel University in Philadelphia, Pennsylvania, and would go on to study at a further three universities, all in the U.S.: Eastern Connecticut State University, Johns Hopkins University, and Yale University.

Many of Adichie's novels are set in Nsukka, Nigeria, where she grew up. She started writing during her university education. She first wrote Decisions (1997), a poetry collection, followed by a play, For Love of Biafra (1998). She first achieved successes with her debut novel, Purple Hibiscus (2003). Adichie has written many works including novels, Purple Hibiscus, Half of a Yellow Sun (2006), Americanah (2013), and Dream Count (2025); essay collections, We Should All Be Feminists (2014) and Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions (2017); a memoir, Notes on Grief (2021); and a children's book, Mama's Sleeping Scarf (2023). She has cited Chinua Achebe and Buchi Emecheta as inspiration and her writing style juxtaposes Western and African influences, with particular influence from Igbo culture. Most of her works explore the themes of religion, immigration, gender and culture.

Adichie uses fashion as a medium to break down stereotypes, and was recognised with a Shorty Award in 2018 for her "Wear Nigerian Campaign". She has a successful speaking career: her 2009 TED Talk "The Danger of a Single Story" is one of the most viewed TED Talks; her 2012 talk, "We Should All Be Feminists", was sampled by American singer Beyoncé as well as featured on a T-shirt by Dior in 2016. Adichie's awards and honours includes academic and literary awards, fellowships, grants, honourary degrees, and other honours, among them a MacArthur Fellowship in 2008 and induction into the American Academy of Arts and Sciences in 2017.

## Early life and career

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### Early life

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Adichie, whose English name was Amanda,[2][3] was born on 15 September 1977, and raised in Enugu, as the fifth out of six children to Igbo parents, Grace Odigwe and James Nwoye Adichie.[4][5][6] She made up the name "Chimamanda" in the 1990s to keep her legal English name of "Amanda" and conform with Igbo Christian naming customs of the time.[c][2][8] Adichie's father was born in Abba, Anambra State, and studied mathematics at University College, Ibadan until his graduation in 1957. James married Grace on 15 April 1963,[9] and moved with her to Berkeley, California to complete his PhD at the University of California.[10] While in the United States, the couple had two daughters, ljeoma Rosemary and Uchenna.[9] He returned to Nigeria and began working as a professor at the University of Nigeria, Nsukka in 1966.[11] Her mother was born in Umunnachi, Anambra State.[5] Grace began her university studies in 1964, at Merritt College in Oakland, California, and then later earned a degree in sociology and anthropology from the University of Nigeria.[5][12]

The Biafran War broke out in 1967 and James started working for the Biafran government[10] at the Biafran Manpower Directorate.[13] Adichie lost her maternal and paternal grandfathers.[14] After Biafra ceased to exist in 1970, her father returned to the University of Nigeria[11][10] while the mother worked for the government at Enugu until 1973 before becoming an administration officer at the University of Nigeria, and later the first female registrar.[5][12] Adichie stayed at the campus of the University of Nigeria, previously occupied by Nigerian writer Chinua Achebe.[15] Her siblings include Ijeoma Rosemary, Uchenna "Uche", Chukwunweike "Chuks", Okechukwu "Okey", and Kenechukwu "Kene".[3][9] Adichie was Catholic,[10] and her family's home parish was St. Paul's Parish in Abba.[13] Adichie's father died of kidney failure in 2020, during the COVID-19 pandemic,[16] and her mother died in 2021.[5]

As a child, Adichie read only English-language stories,[10] especially by Enid Blyton. Adichie's juvenilia included stories with characters who were white and blue-eyed, modeled on British children she had read about.[10][13][17] At ten, she discovered African literature and read Things Fall Apart by Chinua Achebe,[15] The African Child by Camara Laye,[17] Weep Not, Child by Ngũgĩ wa Thiong'o, and Joys of Motherhood by Buchi Emecheta.[13] Adichie began to study her father's stories about Biafra when she was thirteen. In visits to Abba, she saw houses that were destroyed and rusty bullets scattered on the ground. She would later incorporate these memories and her father's accounts into her novels.[13]

Adichie began her formal education, where she was taught in both Igbo and English.[4] Although Igbo was not a popular subject, she continued taking courses in the language throughout high school.[10] She completed her secondary education at the University of Nigeria Campus Secondary School, with top distinction in the West African Examinations Council (WAEC),[3] and academic prizes.[18] She was admitted to the University of Nigeria, and studied medicine and pharmacy for a year and half.[19] She was also the editor of The Compass, a student-run magazine in the university.[20] In 1997, at the age of 19, Adichie published Decisions, a collection of poems, and later moved to the United States,[17] to study communications at Drexel University in Philadelphia, Pennsylvania.[18][20] In 1998, she wrote a play called For Love of Biafra, which was her initial exploration of the theme of war.[17] These early works were written under the name Amanda N. Adichie.[2]

Two years after moving to the United States, she transferred to Eastern Connecticut State University in Willimantic, Connecticut, where she lived with her sister Ijeoma, who was a medical doctor there.[4] In 2000, Adichie published her short story "My Mother, the Crazy African",[21] which discusses the problems that arise when a person is facing two cultures that are complete opposites from each other.[22] After finishing her undergraduate degree, she continued studying and simultaneously pursuing a writing career.[17] While a senior at Eastern Connecticut, she wrote articles for the university paper Campus Lantern.[20] She received her bachelor's degree summa cum laude with a major in political science and a minor in communications in 2001.[4][20] She earned a master's degree in creative writing from Johns Hopkins University in 2003,[20][23] and for the next two years was a Hodder Fellow at Princeton University, where she taught introductory fiction.[17][18] She began studying at Yale University, and completed a second master's degree in African studies in 2008.[4][17] Adichie received a MacArthur Fellowship that same year,[24] plus other academic prizes, including the 2011–2012 Fellowship of the Radcliffe Institute for Advanced Study at Harvard University.[25]

In 2009, Adichie married Nigerian doctor Ivara Esege.[10] The couple has three children; their daughter was born in 2016,[26] and twin boys in 2024, which Adichie revealed in an interview with British newspaper The Guardian.[27] The latter were carried by a surrogate.[28] The family primarily lives in the US, where Adichie has Nigerian nationality and permanent resident status,[29] but also maintain a home in Nigeria.[10]

### Literary career

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See also: Chimamanda Ngozi Adichie bibliography

While studying in the US, Adichie started researching and writing her first novel, Purple Hibiscus. She wrote it during a period of homesickness and set it in her childhood home of Nsukka.[13] The book explores post-colonial Nigeria during a military coup d'état and examines the cultural conflicts between Christianity and Igbo traditions within the dynamics and generations of a family, touching on themes of class, gender, race, and violence.[30] She sent her manuscript to publishing houses and literary agents, who either rejected it or requested that she change the setting from Africa to America, so as to make it more familiar to a broader range of readers. Eventually, Djana Pearson Morris, a literary agent working at Pearson Morris and Belt Literary Management, accepted the manuscript.[13] Morris recognised that marketing would be challenging, since Adichie was Black but neither African-American nor Caribbean. Morris submitted it to potential publishers until it was eventually accepted by Algonquin Books, a small independent company, in 2003.[31] Algonquin created support for the book by providing advance copies to booksellers, reviewers, and media houses. They also sponsored Adichie on a promotional tour[13] and sent the manuscript to Fourth Estate, who accepted the book for publication in the United Kingdom in 2004.[13] Adichie hired the agent Sarah Chalfant of the Wylie Agency to represent her. The book was published by Kachifo Limited in Nigeria in 2004,[31] and subsequently translated into more than forty languages.[13]

Adichie at the reading and signing of her work Americanah in Berlin, Germany (2014)

After her first book, Adichie began writing Half of a Yellow Sun, which she worked on for four years, researching extensively and studying her father's memories of the period and Buchi Emecheta's 1982 novel Destination Biafra.[32][33] Half of a Yellow Sun was first published in 2006 by Anchor Books, a trade-paperback imprint of Alfred A. Knopf, who also released the book later under its Vintage Canada label. It was also published in France as L'autre moitié du soleil in 2008, by Éditions Gallimard.[34] The novel expands on the Biafran conflict weaving together a love story that includes people from various regions and social classes of Nigeria, and how the war and encounters with refugees changes them.[10][33]

While completing her Hodder and MacArthur fellowships, Adichie published short stories in various magazines.[13] Twelve of these stories were collected into her third book, The Thing Around Your Neck, published by Knopf in 2009.[35] The stories focuses on the experiences of Nigerian women, living at home or abroad, examining the tragedies, loneliness, and feelings of displacement, which result from their marriages, relocations, or violent events.[36] The Thing Around Your Neck was a bridge between Africa and the African diaspora, which was also the theme of her fourth book, Americanah, published in 2013.[13] It was the story of a young Nigerian woman and her male schoolmate, who had not studied the trans-Atlantic slave trade in school and had no understanding of the racism associated with being Black in the United States or class structures in the United Kingdom.[37][38] It explores the central message of a "shared Black consciousness", as both of the characters, one in Britain and the other in America, experiences a loss of their identity when they try to navigate their lives abroad.[38]

Adichie was invited to be a visiting writer at the University of Michigan on the Flint campus in 2014. The Renowned African Writers/African and African Diaspora Artists Visit Series required her to engage with students and teachers from high schools and universities, patrons of the local public library, and the community at large in forums, workshops, and lectures that discussed Purple Hibiscus, Americanah, and her personal writing experiences. Clips from her talks "The Danger of a Single Story" and "We Should All Be Feminists" were also aired at some of the events and discussed in the question and answer segment following her varied presentations.[39] In 2015, Adichie wrote a letter to a friend and posted it on Facebook in 2016. Comments on the post convinced her to turn to a book,[40] Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions, which was an expansion of her ideas on how to raise a feminist daughter. The book was published in 2017.[41] In 2020, Adichie published "Zikora", a stand-alone short story about sexism and single motherhood,[42] and an essay "Notes on Grief" in The New Yorker, after her father's death. She expanded the essay into a book of the same name, which was published by Fourth Estate the following year.[43][44]

In 2020, Adichie adapted and published We Should All Be Feminists in a children's edition illustrated by Leire Salaberria.[45] Translations of it were authorised for publication in Croatian, French, Korean, Portuguese, and Spanish.[46] She spent a year and a half writing her first children's book, Mama's Sleeping Scarf, which was written in 2019, and was published in 2023 by HarperCollins under the pseudonym Nwa Grace James.[d][47] Illustrations for the book were made by Joelle Avelino, a Congolese-Angolan illustrator.[48] The book tells the story of the connections of generations through family interactions with a head scarf.[49] In 2025, Adichie published Dream Count, her first novel in 12 years.[50]

## Style

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Adichie uses both Igbo and English in her works,[51] with Igbo phrases shown in italics and then, followed by the English translation.[52] She uses metaphors to trigger sensory experiences,[53] for example, the arrival of a king to challenge colonial and religious leaders in Purple Hibiscus symbolises Palm Sunday.[54] Her use of language referencing Achebe's Things Fall Apart invokes the memories of his work to her readers.[55] Similarly, the name of Kambili, a character in Purple Hibiscus, evokes "i biri ka m biri" ("Live and Let Live"), the title of a song by Igbo musician Oliver De Coque.[56] To describe pre- and post-war conditions, she moves from good to worse as seen in Half of a Yellow Sun, in which one of her characters begins by opening the refrigerator and sees oranges, beer, and a "roasted shimmering chicken". These contrast to later in the novel where one of her characters dies of starvation, and others are forced to eat powdered eggs and lizards.[57] Adichie usually uses real places and historic figures to draw readers into her stories.[58]

In developing characters, Adichie often exaggerates attitudes to contrast the differences between traditional and western cultures.[59] Her stories often point out failed cultures, particularly those which leave her characters in a limbo between bad options.[60] At times, she creates a character as an oversimplified archetype of a particular aspect of cultural behavior to create a foil for a more complex character.[61]

### Igbo tradition

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Adichie gives her characters recognisable common names for an intended ethnicity, such as Mohammed for a Muslim character.[62] For Igbo characters, she invents names that convey Igbo naming traditions and depict the character's traits, personality, and social connections.[63] For example, in Half of a Yellow Sun, the character's name Ọlanna literally means "God's Gold", but Nwankwọ points out that ọla means precious and nna means father (which can be understood as either God the father or a parent).[64] By shunning popular Igbo names, Adichie intentionally imbues her characters with multi-ethnic, gender-plural, global personas.[65] She typically does not use English names for African characters but, when she does, it is a device to represent negative traits or behaviours.[66]

Adichie draws on figures from Igbo oral tradition to present facts in the style of historical fiction.[67] She breaks with tradition in a way that contrasts with traditional African literature, given that women writers were often absent from the Nigerian literary canon,[68] and female characters were often overlooked or served as supporting material for male characters who were engaged in the socio-political and economic life of the community.[69] Her style often focuses on strong women and adds a gendered perspective to topics previously explored by other authors, such as colonialism, religion, and power relationships.[70][71]

Adichie often separates characters into social classes to illustrate social ambiguities and traditional hierarchies.[72][73] By using narratives from characters of different segments of society, as she reiterates in her TED talk, "The Danger of a Single Story", she conveys the message that there is no single truth about the past.[74] Adichie is encouraging her readers to recognise their own responsibility to one another, and the injustice that exists in the world.[75] Nigerian scholar Stanley Ordu classifies Adichie's feminism as womanist because her analysis of patriarchal systems goes beyond sexist treatment of women and anti-male bias, looking instead at socio-economic, political and racial struggles women face to survive and cooperate with men.[76] For example, in Purple Hibiscus, the character Auntie Ifeoma embodies a womanist view through making all family members to work as a team and with consensus, so that each person's talents are utilised to their highest potential.[77]

In both her written works and public speaking, Adichie incorporates humour, and uses anecdotes, irony and satire to underscore a particular point of view.[78][79] Adichie has increasingly developed a contemporary Pan-Africanist view of gender issues, becoming less interested in the way the West sees Africa and more interested in how Africa sees itself.[80]

## Themes

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Adichie, in a 2011 conversation with Kenyan writer Binyavanga Wainaina, stated that the overriding theme of her works was love.[81] Using the feminist argument "The personal is political", love in her works is typically expressed through cultural identity, personal identity and the human condition, and how social and political conflict impact all three.[82] Adichie frequently explores the intersections of class, culture, gender, (post-)imperialism, power, race and religion.[83] Struggle is a predominant theme throughout African literature,[84] and her works follow that tradition by examining families, communities, and relationships.[85] Her explorations go beyond political strife and the struggle for rights, and typically examine what it is to be human.[86] Many of her writings deal with the way her characters reconcile themselves with trauma in their lives[87] and how they move from being silenced and voiceless to self-empowered and able to tell their own stories.[88]

Adichie's works, beginning with Purple Hibiscus, generally examine cultural identity.[59] Igbo identity is typically at the forefront of her works, which celebrate Igbo language and culture, and African patriotism, in general.[89] Her writing is an intentional dialogue with the West, intent on reclaiming African dignity and humanity.[81] A recurring theme in Adichie's works is the Biafran War. The civil war was a "defining moment" in the post-colonial history of Nigeria, and examining the conflict dramatises the way in which the country's identity was shaped. Half of a Yellow Sun, her major work on the war, highlights how policies, corruption, religious dogmatism and strife played into the expulsion of the Igbo population and then forced their reintegration into the nation.[90][91] Both actions had consequences, and Adichie presents the war as an unhealed wound because of political leaders' reluctance to address the issues that sparked it.[92]

The University of Nigeria, Nsukka reappears in Adichie's novels to illustrate the transformative nature of education in developing political consciousness, and symbolises the stimulation of Pan-African consciousness and a desire for independence in Half of a Yellow Sun. It appeared in both Purple Hibiscus and Americanah as the site of resistance to authoritarian rule through civil disobedience and dissent by students.[93] The university teaches the colonial accounts of history and develops the means to contest its distortions through indigenous knowledge,[94] by recognising that colonial literature tells only part of the story and minimises African contributions.[95] Adichie illustrates this in Half of a Yellow Sun, when mathematics instructor Odenigbo, explains to his houseboy, Ugwu, that he will learn in school that the Niger River was discovered by a white man named Mungo Park, although the indigenous people had fished the river for generations. However, Odenigbo cautions Ugwu that, even though the story of Park's discovery is false, he must use the wrong answer or he will fail his exam.[94]

Adichie's works about African diaspora consistently examine themes of belonging, adaptation and discrimination.[53] This is often shown as an obsession to assimilate and is demonstrated by characters changing their names,[61] a common theme in Adiche's short fiction, which serves to point out hypocrisy.[96] By using the theme of immigration, she is able to develop dialogue on how her characters' perceptions and identity are changed by living abroad and encountering different cultural norms.[97] Initially alienated by the customs and traditions of a new place, the characters, such as Ifemelu in Americanah, eventually discover ways to connect with new communities.[98] Ifemelu's connections are made through self-exploration, which, rather than leading to assimilating into her new culture, lead her to a heightened awareness of being part of the African diaspora,[99] and adoption of a dual perspective that reshapes and transforms her sense of self.[100] Awareness of Blackness as part of identity, initially a foreign concept to Africans upon arriving in the United States,[101] is shown not only in those works, but also in her feminist tract, Dear Ijeawele or A Feminist Manifesto in Fifteen Suggestions. In it, she evaluates themes of identity that recur in Purple Hibiscus, Half of a Yellow Sun, and The Thing Around Your Neck such as stereotypical perceptions of Black women's physical appearance, their hair and their objectification.[102] Dear Ijeawele stresses the political importance of using African names,[103] rejecting colorism,[104] exercising freedom of expression in how they wear their hair (including rejecting patronising curiosity about it)[105] and avoiding commodification, such as marriageability tests, which reduce a woman's worth to that of a prize, seeing only her value as a man's wife.[106] Her women characters repeatedly resist being defined by stereotypes and embody a quest for women's empowerment.[107]

Adichie's works often deal with inter-generational explorations of family units, allowing her to examine differing experiences of oppression and liberation. In both Purple Hibiscus and "The Headstrong Historian"—one of the stories included in The Thing Around Your Neck—Adichie examined these themes using the family as a miniature representation of violence.[108] Female sexuality, both within patriarchal marriage relationships and outside of marriage, is a theme that Adichie typically uses to explore romantic complexities and boundaries. Her work discusses homosexuality in the context of marital affairs in stories such as "Transition to Glory", and taboo topics such as romantic feelings for clergy in Purple Hibiscus, as well as the seduction of a friend's boyfriend in "Light Skin". Miscarriage,[109] motherhood and the struggles of womanhood are recurring themes in Adichie's works, and are often examined in relation to Christianity, patriarchy, and social expectation.[70][110][111] For example, in the short story "Zikora", she deals with the interlocking biological, cultural and political aspects of becoming a mother and expectations placed upon women.[110] The story examines the failure of contraception and an unexpected pregnancy, abandonment by her partner, single motherhood, social pressure and Zikora's identity crisis, and the various emotions she experiences about becoming a mother.[112]

Adichie's works show a deep interest in the complexities of the human condition. Recurrent themes are forgiveness and betrayal, as in Half of a Yellow Sun, when Olanna forgives her lover's infidelity, or Ifemelu's decision to separate from her boyfriend in Americanah.[82] Adichie's examination of war shines a light on how both sides of any conflict commit atrocities and neither side is blameless for the unfolding violence. Her narrative demonstrates that knowledge and understanding of diverse classes and ethnic groups is necessary to create harmonious multi-ethnic communities.[91] Other forms of violence—including sexual abuse, rape, domestic abuse, and rage—are repeated themes in Purple Hibiscus, Half of a Yellow Sun and the stories collected in The Thing Around Your Neck,[91][85] these themes symbolise the universality of power, or the impact and manifestation in society of its misuse.[75]

## Views

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### Feminist fashion

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Adichie on the cover of Ms. in 2014

Adichie, in a 2014 article written for Elle,[113] described becoming aware of a Western social norm that "women who wanted to be taken seriously were supposed to substantiate their seriousness with a studied indifference to appearance."[114] The western concept contrasted with her upbringing in Nigeria, because in West Africa the attention that a person pays to their fashion and style correlates to the amount of prestige and respectability they will be given by society.[115] She began to recognise that people were judged for the way that they dressed. In particular, women writers wrote disparagingly about or trivialised attention to fashion,[116] depicting woman who enjoyed fashion and makeup as silly, shallow or vain and without any depth.[117] Acknowledging the relationship between beauty, fashion, style and socio-political inequalities, Adichie became committed to promoting body positivity as a means to acquire agency.[115][116] She began to focus on body politics, taking particular pride in her African features such as her skin colour, hair texture and curves,[118] and wearing bold designs featuring bright colours to make a statement about self-empowerment.[115]

Adichie was included on Vanity Fair's 2016 International Best-Dressed List, and cited Michelle Obama as her style idol.[119][120] That year, Maria Grazia Chiuri, the first female creative director of French fashion company Dior, featured in her debut collection a T-shirt with the title of Adichie's TED talk, "We Should All Be Feminists".[121][117] Adichie was surprised to learn that Dior had never had a woman rule its creative division and agreed to a collaboration with Chiuri, who invited her as an honoured guest to sit in the front-row of the company's spring runway show during the 2016 Paris Fashion Week.[117][121][122] Scholar Matthew Lecznar stated that Adichie often challenges feminist stereotypes through references to fashion. He stated that allowing Dior to feature her text was a skillful way to use various media forms to not only deliver political messaging, but also to develop her image as a multi-faceted intellectual, literary and fashionable "transmedia phenomenon".[123] She became the face of No.7, a makeup brand division of British drugstore retailer Boots.[124] In her 2016 Facebook post Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions, Adichie argued that minimising femininity and its expression through fashion and makeup is "part of a culture of sexism".[120]

On 8 May 2017, Adichie announced her "Wear Nigerian" campaign on her Facebook page. The Nigerian government had launched a "Buy Nigerian to Grow the Naira" campaign after the Nigerian naira experienced a devaluation.[125][126] She set up an Instagram account that her nieces Chisom and Amaka managed,[125] and gained around 600,000 followers.[127] Adichie's goal was to help protect Nigeria's cultural heritage by showcasing the quality of craftsmanship and use of innovative hand-made techniques, materials and textiles being used by Nigerian designers.[128] Just as important was the idea of persuading Nigerians to buy local products, as opposed to purchasing garments abroad, as had been done in the past.[127] The posts on her page do not focus on her private life, but instead highlight her professional appearances all over the world, in an effort to show that style has the power to push boundaries and have global impact.[129] She won a Shorty Award in 2018 for her "Wear Nigerian" campaign,[130] and in 2019 was selected as one of 15 women to appear on the cover of the issue of British Vogue in an issue guest-edited by Meghan, Duchess of Sussex.[131]

In a 2021 discussion at Düsseldorfer Schauspielhaus, Adichie spoke with the former Chancellor of Germany, Angela Merkel, and journalists Miriam Meckel and Léa Steinacker. They discussed that, for democracy to survive, people needed to preserve their traditions and history, be informed about intolerance and learn to accept diversity. Adichie said that she often uses fashion to educate people about diversity, and Merkel agreed that it could serve as a cultural bridge to bring people together globally.[132]

### Religion

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Although Adichie was raised as a Catholic, she considers her views, especially those on feminism, to sometimes conflict with her religion. As sectarian tensions in Nigeria arose between Christians and Muslims in 2012, she urged leaders to preach messages of peace and togetherness.[133] Adichie stated that her relationship to Catholicism is complicated because she identifies culturally as Catholic, but feels that the church's focus on money and guilt do not align with her values.[134] In a 2017 event at Georgetown University, she stated that differences in ideology between Catholic and Church Missionary Society leaders caused divisions in Nigerian society during her childhood, and she left the church around the time of the inauguration of Pope Benedict XVI in 2005.[135] She acknowledged that the birth of her daughter and election of Pope Francis drew her back to the Catholic faith and spurred her decision to raise her child as Catholic.[135] By 2021, Adichie stated that she was a nominal Catholic and only attended mass when she could find a progressive community focused on uplifting humanity. She clarified that "I think of myself as agnostic and questioning".[134] That year, her reflections on Pope Francis's encyclical Fratelli tutti were published in Italian in the 5 July edition of the Vatican's newspaper L'Osservatore Romano.[136][137] In her article, "Sognare come un'unica umanità" ("Dreaming as a Single Humanity"), Adichie recalled being berated at her mother's funeral for having criticised the church's focus on money, but she also acknowledged that Catholic rituals gave her solace during her mourning. She stated that Pope Francis' call in Fratelli tutti for recognition of everyone as part of the human family and for their responsibility to care for each other allowed her to re-imagine what the church might be.[136]

### LGBTIA+ rights

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Adichie is an activist and supporter of LGBT rights in Africa and has been vocal in her support for LGBT rights in Nigeria.[138][139] She has questioned whether consensual homosexual conduct between adults rises to the standard of a crime, as crime requires a victim and harm to society. When Nigeria passed an anti-homosexuality bill in 2014, she was among the Nigerian writers who objected to the law, calling it unconstitutional, unjust and "a strange priority to a country with so many real problems". She stated that adults expressing affection for each other did not cause harm to society, but that the law would "lead to crimes of violence".[140] Adichie was close friends with Kenyan writer Binyavanga Wainaina, whom she credited with demystifying and humanising homosexuality when he publicly came out in 2014.[141][142] Writer Bernard Dayo said that Adichie's eulogy to Wainaina in 2019 perfectly captured the spirit of the "bold LGBTQ activist [of] the African literary world where homosexuality is still treated as a fringe concept."[143]

Since 2017, Adichie has been repeatedly accused of transphobia,[144] initially for saying that "When people talk about, 'Are trans women women?' my feeling is trans women are trans women" in an interview aired on Channel 4 in Britain.[145][139] She apologised, and acknowledged that trans women need support and that they have experienced severe oppression, but she also stated that transgender women and other women's experiences are different, and one could acknowledge those differences without invalidating or diminishing either group's lived experience.[139] After the apology, Adichie attempted to clarify her statement,[139][e] by stressing that girls are socialised in ways that damage their self-worth, which has a lasting impact throughout their lives, whereas boys benefit from the advantages of male privilege, before transitioning.[139][147] Some accepted her apology,[139] and others rejected it as a trans-exclusionary radical feminist view that biological sex determines gender.[147]

The controversy emerged again in 2020 when Adichie voiced support for J. K. Rowling's article on gender and sex, in an interview in the British newspaper, The Guardian, calling the essay "perfectly reasonable".[148][149] That interview sparked a Twitter backlash from critics of her opinion, which included a former graduate of one of Adichie's writing workshops, Akwaeke Emezi.[150][149] In response, Adichie penned "It Is Obscene: A True Reflection in Three Parts" and posted it on her website in June 2021, criticising the use of social media to air out grievances.[151][144] The following month, students who were members of the LGBT community at the University of Cape Town, South Africa, boycotted her public lecture on their campus.[144] Adichie admitted in an interview with Otosirieze Obi-Young in September that she was "deeply hurt" by the backlash and began a period of self-reflection on her biases, informed by reading anything she could find to help her understand trans issues.[13]

## Public speaking

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Adichie and Anne-Marie Slaughter at the New America Conference in 2017

In 2009, Adichie delivered a TED Talk titled "The Danger of a Single Story".[152] In the talk, Adichie expressed her concern that accepting one version of a story perpetrates myths and stereotypes[78] because it fails to recognise the complexities of human life and situations.[153] She argued that under-representation of the layers that make up a person's identity or culture deprives them of their humanity.[78][153] Adichie has continued to reuse the message drawn from the talk in her subsequent speeches, including her address at the Hilton Humanitarian Symposium of the Conrad N. Hilton Foundation in 2019.[154] On 15 March 2012, Adichie became the youngest person to deliver a Commonwealth Lecture.[155][156] The presentation was given at the Guildhall in London addressing the theme "Connecting Cultures".[156] Adichie said, "Realistic fiction is not merely the recording of the real, as it were, it is more than that, it seeks to infuse the real with meaning. As events unfold, we do not always know what they mean. But in telling the story of what happened, meaning emerges and we are able to make connections with emotive significance."[157] She stated that literature could build bridges between cultures because it united the imaginations of all who read the same books.[158]

Adichie accepted an invitation to speak in London in 2012,[159] at TEDxEuston, because a series of talks focusing on African affairs was being organised by her brother Chuks, who worked in the technology and information development department there, and she wanted to help him.[152] In her presentation, "We Should All Be Feminists", Adichie stressed the importance of reclaiming the word "feminist"[78] to combat the negative connotations previously associated with it.[160] She said that feminism should be about exploring the intersections of oppression, such as how class, race, gender and sexuality influence equal opportunities and human rights,[78][152] causing global gender gaps in education, pay and power.[160] In 2015, Adichie returned to the theme of feminism at the commencement address for Wellesley College and reminded students that they should not allow their ideologies to exclude other ideas and should "minister to the world in a way that can change it. Minister radically in a real, active, practical, 'get your hands dirty' way".[78] She has spoken at many commencement ceremonies, including at Williams College (2017),[161] Harvard University (2018),[162] and the American University (2019).[163] Adichie was the first African to speak at Yale University's Class Day, giving a lecture in 2019 that encouraged students to be open to new experiences and ideas and "find a way to marry idealism and pragmatism because there are complicated shades of grey everywhere".[164]

Adichie co-curated the 2015 PEN World Voices Festival of International Literature in New York City, along with festival director Laszlo Jakab Orsos.[165]i[166] The festival theme was contemporary literature of Africa and its diaspora.[166] She closed the conference with her Arthur Miller Freedom to Write lecture, which focused on censorship and using one's voice to speak out against injustices.[165] In addressing her audience, she pointed out cultural differences between Nigeria and America, such as the code of silence, which, in the United States, often acts as censorship. She stated that molding a story to fit an existing narrative, such as characterising the Boko Haram's kidnapping of schoolgirls as equal to the Taliban's treatment of women, is a form of censorship which hides the truth that Boko Haram opposes western-style education for anyone.[165] Although she did not speak of her father's recent kidnapping and release, writer Nicole Lee of The Guardian said that the crowd was aware of her personal ordeal, which made her speech "all the more poignant".[165]

In 2016, Adichie was invited to speak about her thoughts on Donald Trump's election to the US Presidency for the BBC's television current affairs programme Newsnight. When she arrived at the studio, she was informed that the format would be a debate between her and R. Emmett Tyrrell, Jr., a Trump supporter and the editor-in-chief of The American Spectator, a conservative magazine.[29][167] Tempted to walk out of the interview, Adichie decided to continue because she wanted to discuss her views on how economic disenfranchisement had led to Trump's victory.[29] The debate turned adversarial when Tyrrell said "I do not respond emotionally like this lady",[167] and then declared that "Trump hasn't been a racist".[168] Adichie countered his statements and gave an example citing Trump's statement that Judge Gonzalo P. Curiel could not be impartial in the case Low v. Trump University because of his Mexican heritage.[168] After the debate, she wrote on her Facebook page that she felt ambushed by the BBC and that they had "sneakily [pitted her] against a Trump supporter" to create adversarial entertainment. In response, the BBC issued an apology for not informing her of the nature of the interview, but claimed that they had designed the programme to offer a balanced perspective.[167]

Adichie at the speaker's podium during the Congreso Futuro [es], Santiago, Chile, in 2020

Adichie delivered the second annual Eudora Welty Lecture on 8 November 2017 at the Lincoln Theatre in Washington, D.C. The lecture was presented to a sold-out crowd and focused on her development as a writer.[169] That year, she also spoke at the Foreign Affairs Symposium held at Johns Hopkins University. Her talk focused on the fragility of optimism in the face of the current political climate.[29] Adichie and Hillary Clinton delivered the 2018 PEN World Voices Festival, Arthur Miller Freedom to Write Lecture at Cooper Union in Manhattan. Although the speech was centered on feminism and censorship, Adichie's questioning of why Clinton's Twitter profile began with "wife" instead of her own accomplishments became the focus of media attention,[170][171][172] prompting Clinton to change her Twitter bio.[172] Later that year, she spoke at the Frankfurt Book Fair in Germany about breaking the cycles which silence women's voices. She stated that studies had shown that women read literature created by men and women, but men primarily read works by other men. She urged men to begin to read women writers' works to gain an understanding and be able to acknowledge women's struggles in society.[173] In 2019, as part of the Chancellor's Lecture Series, she gave the speech "Writer, Thinker, Feminist: Vignettes from Life" at Vanderbilt University's Langford Auditorium. The speech focused on her development as a storyteller, and her motives for addressing systemic inequalities to create a more inclusive world.[174]

Adichie has been the keynote speaker at numerous global conferences.[129] In 2018, she spoke at the seventh annual International Igbo Conference, and encouraged the audience to preserve their culture and fight misconceptions and inaccuracies about Igbo heritage.[175] She revealed in her presentation "Igbo bu Igbo" ("Igbo Is Igbo") that she only speaks to her daughter in Igbo, which was the only language her daughter spoke at the age of two.[176] Speaking at the inaugural Gabriel García Márquez Lecture in Cartagena, Colombia in 2019, Adichie addressed violence in the country and urged leaders to focus on educating citizens from childhood to reject violence and sexual exploitation and end violent behaviors. Her speech was given in the Nelson Mandela barrio, one of the poorest neighborhoods of the city, and she encouraged Black women to work with men to change the violent culture and celebrate their African roots.[177] Her keynote address at the 2020 Congreso Futuro [es] (Future Conference) in Santiago, Chile, focused on the importance of listening. She said that, to become an effective advocate, a person must understand a wide variety of perspectives. She stressed that people become better problem solvers if they learn to listen to people with whom they may not agree, because other points of view help everyone recognise their common humanity.[178] She was the keynote speaker of the 2021 Reykjavik International Literature Festival held in the Háskólbíó cinema at the University of Iceland, and presented the talk In Pursuit of Joy: On Storytelling, Feminism, and Changing My Mind.[179] On 30 November 2022, Adichie delivered the first of the BBC's 2022 Reith Lectures, inspired by Franklin D. Roosevelt's "Four Freedoms" speech.[180] Her talk explored how to balance the right to freedom of speech against those who undermine facts with partisan messaging.[181]

## Legacy

[edit]

### Influence

[edit]

Larissa MacFarquhar of The New Yorker stated that Adichie is "regarded as one of the most vital and original novelists of her generation".[10] Her works have been translated into more than 30 languages.[169] Obi-Young Otosirieze pointed out in his cover story about Adichie for the Nigerian magazine Open Country Mag in September 2021, that "her novels ... broke down a wall in publishing. Purple Hibiscus proved that there was an international market for African realist fiction post-Achebe [and] Half of a Yellow Sun showed that that market could care about African histories".[13] In an earlier article published in Brittle Paper, he stated that Half of a Yellow Sun's paperback release in 2006 sold 500,000 copies, the benchmark of commercial success for a book, by October 2009 in the UK alone.[182] Her novel Americanah sold 500,000 copies in the US within two years of its 2013 release.[182][183] As of 2022[update], "The Danger of a Single Story" had received more than 27 million views.[184] As of 1 September 2023, the talk is one of the top 25 most viewed TED Talks of all time.[185]

According to Lisa Allardice, a journalist writing for The Guardian, Adichie became the "poster girl for modern feminism after her 2012 TED Talk 'We Should All Be Feminists' went stratospheric and was distributed in book form to every 16-year-old in Sweden".[148] Adichie has become "a global feminist icon" and a recognised "public thinker" per journalist Lauren Alix Brown.[186] Parts of Adichie's TEDx Talk were sampled in the song "Flawless" by singer Beyoncé on 13 December 2013. When asked in an NPR interview about that, Adichie responded that "anything that gets young people talking about feminism is a very good thing."[187] She later refined the statement in an interview with the Dutch newspaper De Volkskrant, saying that she liked and admired Beyoncé and gave permission to use her text because the singer "reached many people who would otherwise probably never have heard the word feminism." But, she went on to state that the sampling caused a media frenzy with requests from newspapers world-wide who were keen to report on her new-found fame because of Beyoncé. Adichie said, "I am a writer and I have been for some time and I refuse to perform in this charade that is now apparently expected of me". She was disappointed by the media portrayal, but acknowledged that "Thanks to Beyoncé, my life will never be the same again."[188] Adichie was outspoken against critics who later questioned the singer's credentials as a feminist because she uses her sexuality to "pander to the male gaze". In defence of Beyoncé, Adichie said: "Whoever says they're feminist is bloody feminist."[189]

Scholar Matthew Lecznar said that Adichie's stature as "one of most prominent writers and feminists of the age" allowed her to use her celebrity "to demonstrate the power of dress and empower people from diverse contexts to embrace [fashion] ... which has everything to do with the politics of identity".[190] Academics Floriana Bernardi and Enrica Picarelli credited her support of the Nigerian fashion industry with helping put Nigeria "at the forefront" of the movement to use fashion as a globally-recognised political mechanism of empowerment.[191] Toyin Falola, a professor of history, in an evaluation of scholarship in Nigeria, criticised the policy of elevating academic figures prematurely. He argued that scholarship, particularly in the humanities, should challenge policies and processes to strengthen the social contract between citizens and government. He suggested that the focus should shift from recognising scholars who merely influenced other scholars to acknowledging intellectuals who use their talents to benefit the state and serve as mentors to Nigerian youth. Adichie was among those he felt qualified as "intellectual heroes", who had "push[ed] forward the boundaries of social change".[192]

Adichie on the Concepción Feminist Mural in Madrid, Spain

Adichie's book Half of a Yellow Sun was adapted into a film of the same title directed by Biyi Bandele in 2013.[193] In 2018, a painting of Adichie was included in a wall mural at the Municipal Sport Center in the Concepción barrio of Madrid, along with 14 other historically influential women. The 15 women were selected by members of the neighborhood to give a visible representation of the role of women in history and to serve as a symbol of equality. The neighborhood residents defeated a move by conservative politicians to remove the mural in 2021 through a petition drive of collected signatures.[194]

Luke Ndidi Okolo, a lecturer a Nnamdi Azikiwe University said:[195]

> Adichie's novel treats clear and lofty subjects and themes. But the subjects and themes, however, are not new to African novels. The remarkable difference of excellence in Chimamanda Adichie's Purple Hibiscus is the stylistic variation—her choice of linguistic and literary features, and the pattern of application of the features in such a wondrous juxtaposition of characters' reasoning and thought.

Adichie's work has garnered significant critical acclaim and numerous awards.[196][197] Book critics such as Daria Tunca wrote that Adichie's work is considerably relevant and stated that she was a major voice in the Third Generation of Nigerian writers,[198] while Izuu Nwankwọ called her invented Igbo naming scheme as an "artform", which she has perfected in her works.[65] He lauded her ability to insert Igbo language and meaning into an English-language text without disrupting the flow or distorting the storyline.[199] In the judgement of Ernest Emenyonu, one of the most prominent scholars of Igbo literature,[200] Adichie was "the leading and most engaging voice of her era" and he has described her as "Africa's preeminent storyteller".[201] Toyin Falola, a professor of history, hailed her along other writers, as "intellectual heroes".[192] Her memoir, Notes On Grief was positively praised by Kirkus Reviews as "an elegant, moving contribution to the literature of death and dying."[202] Leslie Gray Streeter of The Independent said that Adichie's view on grief "puts a welcome, authentic voice to this most universal of emotions, which is also one of the most universally avoided."[203] She has been widely recognised as "the literary daughter of Chinua Achebe".[204] Jane Shilling of the Daily Telegraph called her "one who makes storytelling seem as easy as birdsong".[205]

Adichie has gained wide praise for her speeches and lectures.[138][78][152] Journalist Shreya Ila Anasuya described Adichie's public speaking as delightful and articulate, noting that her timing allowed sufficient pauses for the audience response, before she continued by distilling "her wisdom into the simplest and most compassionate of telling".[78] Critic Erica Wagner called Adichie a "star", stating that she spoke with fluency and power, exuding authority and confidence. She called "The Danger of a Single Story" an "accessible essay on how we might see the world through another's eyes".[152] Media and communications professor Erika M. Behrmann, who reviewed Adichie's TEDxEuston Talk, "We Should All Be Feminists" praised her as a "gifted storyteller", who was able to intimately connect with her audience. Behrmann stated that the talk used language that made it relatable to children and adults, giving a basic foundation for students to learn about feminist ideas and issues, as well as learning about how gender is socially constructed by culture. She also said that Adichie demonstrated that gender inequality is a global challenge, and offered solutions to combat disparities by focussing less on gender roles and more on developing skills based upon ability and interests.[160] However, Behrmann criticised the lack of discussion in the talk on the intersectional aspects of peoples' identities and Adichie's reliance on binary terms (boy/girl, man/woman, male/female), which left "little room to imagine and explore how transgender and genderqueer" people contribute to or are impacted by feminism.[159] Emenyonu said that her "talks, blogs, musings on social media, essays and commentaries, workshop mentoring for budding writers and lecture circuit discourses ... expand and define her mission as a writer".[206] Scholar Grace Musila said Adiche's brand encompasses her reputation as a writer, public figure, and fashionista, which expanded her reach and the legitimacy of her ideas far beyond academic circles.[207]

### Critical reputation

[edit]

Main article: List of awards and nominations received by Chimamanda Ngozi Adichie

Adichie received a MacArthur Fellowship in 2008,[24] plus other academic prizes, including the 2011–2012 Fellowship of the Radcliffe Institute for Advanced Study at Harvard University.[25] In 2002, Adichie was shortlisted for the Caine Prize for African Writing for her story, "You in America".[3][208] She also won the BBC World Service Short Story Competition for "That Harmattan Morning", while her short story "The American Embassy" won the 2003 O. Henry Award and the David T. Wong International Short Story Prize from PEN International.[209] Her book, Purple Hibiscus was well received with positive reviews from book critics.[13][31] The book sold well and was awarded the Commonwealth Writers' Prize for the Best Book (2005), Hurston-Wright Legacy Award, and shortlisted for the Orange Prize for Fiction (2004).[209][31] Half of a Yellow Sun garnered acclaim including winning the Orange Prize for Fiction in 2007,[210] the International Nonino Prize (2009),[211][212] and the Anisfield-Wolf Book Award.[209] Her story collection, The Thing Around Your Neck was the runner-up to the Dayton Literary Peace Prize for 2010.[213] One story from the book, "Ceiling" was included in The Best American Short Stories 2011.[214] Americanah was listed among The New York Times "10 Best Books of 2013",[209][215] and won the National Book Critics Circle Award (2014),[13][216][217] and the One City One Book (2017).[218] Her book Dear Ijeawele, translated in French as Chère Ijeawele, ou un manifeste pour une éducation féministe won the Le Grand Prix de l'Héroïne Madame Figaro in the category of best non-fiction book in 2017.[219][220]

Adichie was a finalist of the Andrew Carnegie Medal for Excellence in Fiction (2014).[221] She won the Barnard Medal of Distinction (2016),[222] and the W. E. B. Du Bois Medal (2022), the highest honour from Harvard University.[223] She was listed in The New Yorker's "20 Under 40" authors in 2010, and the Africa39 under 40 authors during the Hay Festival in 2014,[209] She was listed in Time 100 in 2015,[224] and The Africa Report's list of the "100 Most Influential Africans" in 2019.[225] In 2018, she was selected as the winner of the PEN Pinter Prize, which recognises writers whose body of literary work uncovers truth through critical analysis of life and society. The award recipient chooses the winner of the companion prize, the Pinter International Writer of Courage Award, for which Adichie named Waleed Abulkhair, a Saudi Arabian lawyer and human rights activist.[226][227] The Women's Prize for Fiction, formerly known as the Orange Prize, selected 25 candidates for its Winner of Winners in honour of its 25th anniversary celebrations in 2020. The public chose Adichie for Half of a Yellow Sun for the award.[228]

In 2017, Adichie was elected as one of 228 new members to be inducted into the 237th class of the American Academy of Arts and Sciences, making her the second Nigerian to be given the honour after Wole Soyinka.[229] As of March 2022, Adichie had received 16 honorary degrees from universities[230] President of Nigeria Muhammadu Buhari selected her to be honoured as a recipient of the Order of the Federal Republic in 2022,[231] but Adichie rejected the national distinction.[232] On 30 December 2022, Adichie was honored with the title of "Odeluwa", a chieftaincy position, by her hometown of Abba in Anambra State, marking her the first woman to receive a chieftaincy title in Abba.[233][234]

## Notes

[edit]

1. ^ CHI-mə-MAHN-də əng-GOH-zee ə-DEE-chee-ay Adichie's name has been pronounced a variety of ways in English. This transcription attempts to best approximate the Igbo pronunciation for English-speaking readers.
2. ^ /ˌtʃɪməˈmɑːndə əŋˈɡoʊzi əˈdiːtʃi.eɪ/ ⓘ[a]
3. ^ In translation, the Igbo name "Chimamanda" means "my spirit is unbreakable" or "My God cannot fail".[7]
4. ^ The pseudonym "Nwa Grace James was a dedication by Adichie to her parents, as Nwa means "child of" in Igbo.[47][48]
5. ^ B. Camminga reprinted Adichie's Facebook post as, "I said, in an interview, that trans women are trans women, that they are people who, having been born male, benefited from the privileges that the world affords men, and that we should not say that the experience of women born female is the same as the experience of trans women.... I think the impulse to say that trans women are women just like women born female are women comes from a need to make trans issues mainstream. Because by making them mainstream, we might reduce the many oppressions they experience.... Perhaps I should have said trans women are trans women and cis women are cis women and all are women. Except that 'cis' is not an organic part of my vocabulary. And would probably not be understood by a majority of people. Because saying 'trans' and 'cis' acknowledges that there is a distinction between women born female and women who transition, without elevating one or the other, which was my point.... I have and will continue to stand up for the rights of transgender people. Not merely because of the violence they experience but because they are equal human beings deserving to be what they are".[146]

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227. ^ Flood 2018b.
228. ^ Flood 2020.
229. ^ Ayo-Aderele 2017.
230. ^ Guardian Nigeria 2022.
231. ^ Ufuoma 2022.
232. ^ Olaiya 2022.
233. ^ Edeme 2022b.
234. ^ Okogba 2023.

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* Tunca, Daria (2010). "Of French Fries and Cookies: Chimamanda Ngozi Adichie's Diasporic Short Fiction" (PDF). In Gyssels, Kathleen; Ledent, Bénédicte (eds.). Présence africaine en Europe et au-delà [African Presence in Europe and Beyond]. Paris, France: Éditions L'Harmattan. pp. 291–309\. ISBN 978-2-296-12803-3.291-309&rft.pub=Éditions+L'Harmattan&rft.date=2010&rft.isbn=978-2-296-12803-3&rft.aulast=Tunca&rft.aufirst=Daria&rft_id=https://orbi.uliege.be/bitstream/2268/33339/1/Tunca_Adichie_African.pdf&rfr_id=info:sid/en.wikipedia.org:Chimamanda+Ngozi+Adichie" class="Z3988">
* Tunca, Daria (2011). "Adichie, Chimamanda Ngozi (1977)". In Gates Jr, Henry Louis; Akyeampong, Emmanuel K. (eds.). Dictionary of African Biography. Vol. 1: Abach-Brand. New York, New York: Oxford University Press. pp. 94–95\. ISBN 978-0-19-538207-5.94-95&rft.pub=Oxford+University+Press&rft.date=2011&rft.isbn=978-0-19-538207-5&rft.aulast=Tunca&rft.aufirst=Daria&rft_id=https://books.google.com/books?id=39JMAgAAQBAJ&pg;=PA94&rfr_id=info:sid/en.wikipedia.org:Chimamanda+Ngozi+Adichie" class="Z3988">
* Tunca, Daria (Winter 2018). "Chimamanda Ngozi Adichie as Chinua Achebe's (Unruly) Literary Daughter: The Past, Present, and Future of 'Adichebean' Criticism" (PDF). Research in African Literatures. 49 (4): 107–126\. doi:10.2979/reseafrilite.49.4.08. ISSN 0034-5210. JSTOR 10.2979/reseafrilite.49.4.08. OCLC 9969832851.107-126&rft.date=2018&rft_id=info:oclcnum/9969832851&rft.issn=0034-5210&rft_id=https://www.jstor.org/stable/10.2979/reseafrilite.49.4.08#id-name=JSTOR&rft_id=info:doi/10.2979/reseafrilite.49.4.08&rft.aulast=Tunca&rft.aufirst=Daria&rft_id=https://orbi.uliege.be/bitstream/2268/233956/1/Tunca_Adichie_Achebe_RAL.pdf&rfr_id=info:sid/en.wikipedia.org:Chimamanda+Ngozi+Adichie" class="Z3988">
* Ufuoma, Vincent (2 October 2022). "Buhari to Confer National Honours on Chimamanda Adichie, 436 Others". International Centre for Investigative Reporting. Abuja, Nigeria. Archived from the original on 7 May 2024. Retrieved 7 May 2024.
* Useni, Mohammed, ed. (19 February 2014). "Anti-Gay Law: Chimamanda Adichie Writes, 'Why can't he just be like everyone else?'". NewswireNGR. Archived from the original on 9 December 2023. Retrieved 21 February 2021.
* Vanzanten, Susan (Summer 2015). "'The Headstrong Historian': Writing with Things Fall Apart". Research in African Literatures. 46 (2): 85–103\. doi:10.2979/reseafrilite.46.2.85. ISSN 0034-5210. JSTOR 10.2979/reseafrilite.46.2.85. OCLC 5827202813.85-103&rft.date=2015&rft_id=info:oclcnum/5827202813&rft.issn=0034-5210&rft_id=https://www.jstor.org/stable/10.2979/reseafrilite.46.2.85#id-name=JSTOR&rft_id=info:doi/10.2979/reseafrilite.46.2.85&rft.aulast=Vanzanten&rft.aufirst=Susan&rfr_id=info:sid/en.wikipedia.org:Chimamanda+Ngozi+Adichie" class="Z3988">
* Wagner, Erica (3 November 2015). "Chimamanda Ngozi Adichie: 'I Wanted To Claim My Own Name'". British Vogue. London, UK. Archived from the original on 18 October 2023. Retrieved 10 May 2024.
* Weatherford, Ashley (8 December 2016). "Chimamanda Adichie Talks Black Hair and the Narrow Definition of Beauty". The Cut. New York City, New York: New York Magazine. Archived from the original on 30 November 2023. Retrieved 9 May 2024.
* Weller, Chris (16 March 2017). "New Yorkers Just Selected a Book for the Entire City to Read in America's Biggest Book Club". Business Insider UK. London, UK. Archived from the original on 24 October 2017. Retrieved 22 March 2024.
* "'We Should All Be Feminists'" (PDF). Foreign Rights Catalog: Books for Kids and Teens. New York City, New York: Penguin Random House: 109. January–June 2021. Archived (PDF) from the original on 19 May 2024. Retrieved 19 May 2024.
* Williams, Zoe (28 November 2022). "'I believe literature is in peril': Chimamanda Ngozi Adichie Comes Out Fighting for Freedom of Speech". The Guardian. London, UK. Archived from the original on 19 March 2024. Retrieved 19 March 2024.
* Zabus, Chantal (Fall 2015). "Reviewed Work: Stylistic Approaches to Nigerian Fiction Daria Tunca". Research in African Literatures. 46 (3): 234–236\. doi:10.2979/reseafrilite.46.3.234. ISSN 0034-5210. JSTOR 10.2979/reseafrilite.46.3.234. OCLC 5879344999.234-236&rft.date=2015&rft_id=info:oclcnum/5879344999&rft.issn=0034-5210&rft_id=https://www.jstor.org/stable/10.2979/reseafrilite.46.3.234#id-name=JSTOR&rft_id=info:doi/10.2979/reseafrilite.46.3.234&rft.aulast=Zabus&rft.aufirst=Chantal&rfr_id=info:sid/en.wikipedia.org:Chimamanda+Ngozi+Adichie" class="Z3988">

## External links

[edit]

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