Gaa na ọdịnaya

Chimamanda Ngozi Adichie

Shí Wikipedia, njikotá édémédé nke onyobulạ
Chimamanda Ngozi Adichie

Chimamanda Ngozi Adichie (Audioⓘ; 15 September 1977) bụ onye odee akwụkwọ si na mba Nigeria.

Amuru Adichie na Enugu. O gara akwụkwọ mahadum na Mahadum nke Nigeria di na obodo Nsukka. N'ebe ahụ, oji otu afo na ọkara wee guo akwụkwọ gbasara ọgwụ. Ọ hapuru Naijiria gaba mba Amerika mgbe odi afo iri na-iteghete. Na mba Amerika, Ọ bidoro akwụkwo na Drexel University nke di na Philadelphia, Pennsylvania. Site n'ebe ahụ, ogukwara na Eastern Connecticut State University, Johns Hopkins University, na Yale University; ha niile di na mba Amerika.

Otutu n'ime akwụkwọ Adichie dere nwéré ngalaba ndị bi na Nsukka ebe azuru ya na ntakiri. Obu mgbe ọ na agụ Akwụkwọ na mahadum ka obidoro debe akwụkwo. Oburu ụzọ dee akwukwo ábu ana akpọ Decisions (1997), nke n'eso ya bụ For Love of Biafra (1998). Ọ turu ugo na mmara ndị mmadu mgbe odechara Purple Hibiscus, akwụkwọ akụkọ nke izizi odere. Adichie eweela otutu akwụkwọ ma kpọọ Chinua Achebe na Buchi Emecheta ndị ndú ya. Ihe ndị odere gbasara ukwu na ndọrọ ndoro jikotara ndị ojii na ndị ọcha, okachasi site na Ndị Igbo.

Adichie ma ekwu okwu oha. Onyela otutu okwu mmechi na mmeghe akwụkwo na mahadum di iche ichè, okachasi na Williams College (2017), Harvard University (2018), na American University (2019). Onyere okwu TEDx ana akpọ "The Danger of a Single Story" (2009) ya na "We Should All Be Feminists" (2012). Ụfọdụ okwu ya bu ihé onye na eti egwú Beyoncé tinyere na egwu ọhụrụ ana akpọ *Flawless. Adichie aturula otutu asambodo na ngalaba ịgụ akwụkwọ na ide akwụkwọ. O nwetara MacArthur Fellowship n'afọ 2008 ma nnabata ya na otu American Academy of Arts and Sciences n'afọ 2017.

Ndu na mmalite

[dezie | dezie ebe o si]

Aha enyere Adichie mgbe amụrụ ya bụ áhà oyibo, Grace[1] Amụrụ ya na 15 September n'afọ 1977 dika nwa nke ise na Enugu, Nigeria, site na aka nne na nna ya bu ndi Igbo.[2][3][4] Nna ya bụ James Nwoye Adichie bụ onye Abba di na Anambra ma nne ya bụ Grace Odigwe bụ onye Umunnachi.[5] Nna ya, onye gụrụ mathematics na University College, Ibadan, tupu ọgụchara akwụkwọ n'afọ 1957, nụrụ Grace na 15 April n'afọ 1963,[6] ma kpọrọ ya wee jee Berkeley, California ebe ọgụrụ akwụkwọ maka ngalaba PhD ya na University of California.[7] Mgbe ha no na United States, nne na nna Adichie nwéré ụmụaka nwaanyị abuo: ljeoma Rosemary na Uchenna.[6] Nna ya lotara mba Nigeria ma bido ọrụ nkụzi na mahadum University of Nigeria, Nsukka n'afo 1966.[8] Nne ya bidoro akwụkwọ mahadum ya n'afọ 1964, na Merritt College nke di na Oakland, California. Mgbe ọgụchara, ọ nwetara ngalaba na sociology ya na anthropology nke sitere na University of Nigeria.[5][9]

Agha Biafra bidoro n'afọ 1967. Mgbe áhụ, nna Adichie malitere ịrụ ọrụ na Biafran Manpower Directorate nke bu ụlọ ọrụ Biafra.[7][10] Nne na nna ukwu Adichie nwụrụ na agha ahu.[11] Mgbe agha ahu kwụsịrị n'afọ 1970, nna ya laghachiri na University nke Nigeria,[8][7] ebe nne ya, onye ruru ọrụ na Enugu wee rue afọ 1973, bia bụrụ onye ọrụ na ndị isi na University nke Nigeria. O mechara buru registrar ma burukwa onye izi bu nwaanyị malitere ya bu ọrụ.[5][9] Adichie nọrọ n'ụlọ obibi University nke Nigeria, n'ụlọ Chinua Achebe biri ikpeazụ.[12] Umunne ya bụ Ijeoma Rosemary, Uchenna "Uche", Chukwunweike "Chuks", Okechukwu "Okey", na Kenechukwu "Kene".[13][6]

Dika nwatakịrị, Adichie gụrụ naanị akwụkwọ akụkọ edere na-asusu bekee,[7] okachasi nke Enid Blyton. Akwukwo ndị ọzọ ọgụrụ dika nwatakịrị gụnyere akwụkwọ ebe ndị akoro akụkọ ha bụ ndị ọcha, ma nwee anya na-acha anụnụ anụnụ. Ha niile bu maka mba Britain.[7][10][14] Mgbe o ruru afọ iri, ọ chọpụtara n'onwe ya akụkọ gbasara Africa. Ọgụrụ akwụkwọ tụmadi Things Fall Apart nke Chinua Achebe dere,[12] The African Child nke Camara Laye dere,[14] Weep Not, Child nke Ngũgĩ wa Thiong'o dere, and The Joys of Motherhood nke Buchi Emecheta dere.[10] N'afọ iri na atọ ejiri mụọ ya, Adichie bidoro ịgụ akwụkwọ akụkọ nna ya degara gbasara Biafra. Na njem ọgbaghara na obodo Abba, ọ hụ gara ulo gbachara ọkụ na mkpụrụ egbe gbachara nchara juputara na ala. Ihe niile a bụ ihe ga enyere ya aka iji dee ụfọdụ akwụkwọ ya.[10]

Na nnata Sakramenti nke Nkwenye ana akpọ Konfameshọn, Adichie bugara aha ya na bekee site na Grace gaa n' Amanda. Ọbụ aha a k'ọzara n'akwụkwọ ya nke mbu.[1][3][13] N'agụmakwụkwọ ya, a kụziiri Adichie ihe n'asụsụ Igbo na Bekee.[2] Ọ bụ ezie na asụsụ Igbo abụghị ihe a ma ama, ọ gara n'ihu na-amụ asụsụ ahụ n'oge niile ọ nọ n'ụlọ akwụkwọ sekọndrị.[7] Ọ gụchara akwụkwọ sekọndrị ya n'ụlọ akwụkwọ sekọndrị na Mahadum Nigeria, wee nweta akara ugo mmụta kacha elu nke sitere na otu West African Examinations Council (WAEC)[13] na ihe nrite agụmakwụkwọ.[15] A nabatara ya na Mahadum nke Nigeria, ebe ọ gụrụ ọgwụ na ọrụ ọgwụ (medicine and pharmacy) ruo otu afọ na ọkara.[16] Ọ rụkwara ọrụ dị ka onye nchịkọta akụkọ maka The Compass, nke bu magazin mahadum nke ụmụ akwụkwọ na-elekọta.[17] N'afọ 1997, mgbe ọ dị afọ 19, Adichie bipụtara Decisions, nke bu nchịkọta uri, ma mesịa kwaga United States,[14] ka ọ gụọ maka ọmụmụ gbasara nkwukọrịta (Mass communications) na Drexel University dị na Philadelphia, Pennsylvania.[15][17] N'afọ 1998, o dere egwuregwu a na-akpọ For Love of Biafra, nke bụ mbọ mbụ o gbara iji nyochaa isiokwu gbasara agha.[14] E dere ọrụ ndị a mbụ n'okpuru aha bụ́ Amanda N. Adichie.[3]

Afọ abụọ ka ọ kwagara United States, ọ gbanwere gaa Eastern Connecticut State University dị na Willimantic, Connecticut, ebe ya na nwanne ya nwanyị bụ Ijeoma, onye nke bụkwa dọkịta, bi.[2] N'afọ 2000, Adichie bipụtara obere akụkọ ya akpọrọ "My Mother, the Crazy African",[18] nke na-atụle nsogbu ndị na-ebilite mgbe mmadụ na-ebi n'etiti omenala abụọ dị nnọọ iche n'ebe ibe ha nọ.[19] Mgbe ọ gụchara nzere mbụ ya na mahadum, ọ gara n'ihu n'ọmụmụ ihe ya ma na-achụkwa ọrụ ide ihe n'otu oge ahụ.[14] Mgbe ọ nọ n'afọ ikpeazụ ya na Eastern Connecticut, ọ na-ede edemede maka akwụkwọ akụkọ mahadum ahụ bụ Campus Lantern.[17] Ọ nwetara nzere bachelọ ya n'ọkwa kachasị elu (nke a maara dị ka summa cum laude) na ngalaba sayensị ndọrọ ndọrọ ọchịchị, ya na ngalaba nkwukọrịta dị ka obere ngalaba ọmụmụ, n'afọ 2001.[2][17] Ọ nwetara nzere mastas na ide akụkọ ifo (creative writing) site na Johns Hopkins University n'afọ 2003,[17][20] ma n'ime afọ abụọ sochirinụ, ọ rụrụ ọrụ dị ka Hodder Fellow na Princeton University, ebe ọ kụziri ihe gbasara mmalite ide akụkọ ifo.[14][15] Ọ malitere ọmụmụ ihe na Yale University, ma gụchaa nzere mastas nke abụọ na ngalaba ọmụmụ gbasara Afrịka (African studies) n'afọ 2008.[2][14] N'otu afọ ahụ, Adichie nwetara onyinye MacArthur Fellowship,[21] tinyere ihe nrite agụmakwụkwọ ndị ọzọ, gụnyere ohere mmemme Radcliffe Institute for Advanced Study at Harvard University maka afọ 2011–2012.[22]

Ọrụ

[dezie | dezie ebe o si]

2003: Mmalite akwụkwọ na mgba mbipụta

[dezie | dezie ebe o si]

Mgbe ọ na-amụ akwụkwọ na mba Amerịka, Adichie malitere inyocha ma dee akwụkwọ akụkọ mbụ ya, Purple Hibiscus. [10] O zigara akwụkwọ edemede ya nye ụlọ ọrụ mbipụta akwụkwọ na ndị na-ede akwụkwọ, ndị jụrụ ya ma ọ bụ rịọ ya ka ọ gbanwee ọnọdụ ahụ site na Afrịka gaa na Amerịka, ka o wee mee ka ọ mara ndị na-agụ akwụkwọ nke ọma. N'ikpeazụ, Djana Pearson Morris, onye na-ede akwụkwọ na-arụ ọrụ na Pearson Morris na Belt Literary Management, nabatara akwụkwọ edemede ahụ.[10] Ọ bụ ezie na onye nnọchi anya ahụ ghọtara na ahịa ga-esiri ike, ebe Adichie bụ onye ojii mana ọ bụghị onye Africa-America ma ọ bụ onye Caribbean, o nyefere ya ndị mbipụta akwụkwọ ahụ ruo mgbe Algonquin Books, obere ụlọ ọrụ nọọrọ onwe ya, nabatara ma bipụta ya na 2003. Na 2004, Fourth Estate bipụtara akwụkwọ akụkọ ahụ na United Kingdom, ebe Kachifo Limited bipụtara ya na Naịjirịa.[23] N'oge ahụ, Adichie were onye nnọchi anya akwụkwọ Sarah Chalfant nke Wylie Agency ka ọ nọchite anya ya. Asụgharịala Purple Hibiscus n'ihe karịrị asụsụ iri anọ.[10]

2006–2012: mbipụta nke Half of a Yellow Sun na The Thing Around Your Neck; ihe ịga nke ọma n'ikwu okwu n'ihu ọha

[dezie | dezie ebe o si]

Mgbe akwụkwọ akụkọ mbụ ya gasịrị, Adichie malitere ide nke abụọ ya Half of a Yellow Sun, nke ọ rụrụ ọrụ na ya ruo afọ anọ. N'ihi na akwụkwọ akụkọ ahụ gbasaara n'ọgụ Biafra n'oge Agha Obodo Naịjirịa,[7][24] Adichie jiri ihe nna ya chetara Agha Biafra mee ihe, tinyere ịgụ akwụkwọ, gụnyere akwụkwọ akụkọ Buchi Emecheta nke afọ 1982 nke ana-akpọ Ebe Biafra Na-aga.[24][25] E bipụtara akwụkwọ akụkọ ahụ na mbụ na 2006 site n'aka Anchor Books, akara azụmaahịa nke Alfred A. Knopf, onye wepụtakwara akwụkwọ ahụ n'okpuru akara Vintage Canada ya. E bipụtara ya na France dịka L'autre moitié du soleil na 2008, site n'aka Éditions Gallimard.[26]

Mgbe ọ na-emecha mmemme Hodder na MacArthur na 2008, Adichie malitere ịchịkọta akụkọ ndị dị mkpirikpi o bipụtalarị na magazin.[10] Akụkọ iri na abụọ ka chịkọtara n'akwụkwọ nke atọ ya na nchịkọta akụkọ obere akụkọ mbụ ya, The Thing Around Your Neck, nke Knopf bipụtara na 2009.[27] N'otu afọ ahụ, o mere TED Talk nke akpọrọ "The Ize Ndụ nke Akụkọ Otu".[28]

Na 15 Maachị 2012, Adichie ghọrọ onye kacha nta n'ime ndị kacha nta n'ime Commonwealth Lecture.[29][30] E mere ihe ngosi a na Guildhall na London, na-ekwu maka isiokwu bụ "Ịjikọ Omenala".[30] Na 2012 kwa, o kwuru okwu isiokwu ya bụ "Anyị Kwesịrị Ịbụ Ndị Na-eme Ihe n'Ụzọ Ụmụ Nwanyị" maka TEDxEuston na London.[28][31]

2013–2019: Americanah na Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions; ihe ịga nke ọma na ikike ụmụ nwanyị

[dezie | dezie ebe o si]
Nwanyị nọ ọdụ n'oche na-abịanye aka n'akwụkwọ, gbara ya gburugburu site na ìgwè mmadụ ndị ọzọ
Adichie n'oge ịgụ na ịbị aka n'akwụkwọ ọrụ ya Americanah na Berlin, Germany (2014)

Akwụkwọ akụkọ Adichie nke atọ Americanah' bipụtara na 14 Mee 2013 site n'aka Alfred A. Knopf.[10] E bipụtara ya na France site n'aka Éditions Gallimard na 2015.[32] Ọ bụ onye edemede nleta na Mahadum Michigan–Flint na 2014. Usoro nleta ndị edemede Afrịka a ma ama/Ndị nka Afrịka na ndị Africa bi na mba ọzọ chọrọ ka ọ soro ụmụ akwụkwọ na ndị nkuzi si ụlọ akwụkwọ sekọndrị na mahadum, ndị na-akwado ọbá akwụkwọ ọha na eze dị n'ógbè ahụ, na obodo ahụ dum na mkparịta ụka, ogbako, na nkuzi ndị tụlere Purple Hibiscus, Americanah, na ahụmịhe ide ihe nkeonwe ya. E tinyere obere ihe nkiri sitere na okwu ya bụ "Ihe Ize Ndụ nke Akụkọ Otu" na "Anyị Kwesịrị Ịbụ Ndị Na-eme Ihe Ike n'Ụmụ Nwanyị" n'ụfọdụ ihe omume ma kparịta ya n'isiokwu ajụjụ na azịza mgbe e mechara ihe ngosi ya dị iche iche.[33]

Na 2015, Adichie kwuru okwu mmalite maka Wellesley College.[34] O so hazie PEN World Voices Festival of International Literature nke 2015 na New York City, ya na onye nduzi ememme ahụ bụ Laszlo Jakab Orsos.[35][36] O mechiri emume ahụ site na nkuzi ya bụ "Arthur Miller Freedom to Write" gbasara mmachibido iwu na mmegide megide ikpe na-ezighị ezi.[35]

N'afọ 2015, Adichie dere ozi email nye enyi ya ma mechaa tinye ya na Facebook na 2016. Okwu ndị e kwuru gbasara post ahụ mere ka o kweta ịtụgharị post ahụ ka ọ bụrụ akwụkwọ, Dear Ijeawele, ma ọ bụ A Feminist Manifesto in Fifteen Suggestions,[37] nke e bipụtara na 2017.[38] Na 2016, BBC kpọrọ ya ka ọ bịa na Newsnight ma kwuo echiche ya gbasara ntuli aka nke Donald Trump nke 2016]. Mgbe ọ rutere na studio ahụ, a gwara ya na usoro ahụ ga-abụ arụmụka n'etiti ya na R. Emmett Tyrrell, Jr., onye na-akwado Trump na onye nchịkọta akụkọ nke The American Spectator, magazin nchekwa.[39][40] Mgbe ọ chọrọ ịpụ na ajụjụ ọnụ ahụ, o kpebiri ịga n'ihu n'ihi na ọ chọrọ ịtụle echiche ya gbasara otu enweghị ikike akụ na ụba si mee ka Trump merie.[39] Arụmụka ahụ ghọrọ ihe mmegide mgbe Tyrrell kwuru, sị: "Anaghị m azaghachi mmetụta uche dị ka nwanyị a,"[40] wee kwupụta na "Trump abụghị onye ịkpa ókè agbụrụ".[41] Adichie jụrụ okwu ya, dịka ọmụmaatụ na-ezo aka na nkwupụta Trump na Onyeikpe Gonzalo P. Curiel enweghị ike ịnọ n'ihu n'okwu ahụ Low megide Mahadum Trump n'ihi ihe nketa ya na Mexico.[42] Mgbe arụmụka ahụ gasịrị, o dere na ibe Facebook ya na ọ dị ya ka BBC na-eche ya ihu, na ha "ji aghụghọ [na-agba ya] megide onye na-akwado Trump" iji mepụta ntụrụndụ mmegide. Na nzaghachi, BBC rịọrọ mgbaghara maka ịghara ịgwa ya ụdị ajụjụ ọnụ ahụ, mana o kwuru na ha chepụtara mmemme ahụ iji nye echiche ziri ezi.[40]

Nwanyị guzoro n'elu ikpo okwu. E nwere mbadamba ihe n'elu ikpo okwu ebe ọ na-agụ ihe.
Adichie n'elu ikpo okwu onye na-ekwu okwu n'oge Congreso Futuro [es], Santiago, Chile, na 2020

Adichie kwuru okwu Eudora Welty nke abụọ kwa afọ na 8 Nọvemba 2017 na Lincoln Theatre na Washington, D.C.[43] N'afọ ahụ, o kwukwara okwu na nnọkọ mba ofesi nke e mere na Mahadum Johns Hopkins gbasara adịghị ike nke olileanya n'ihu ọnọdụ ndọrọ ndọrọ ọchịchị dị ugbu a.[39] Adichie na Hillary Clinton kwuru okwu PEN World Voices Festival nke 2018, Arthur Miller Freedom to Write Lecture na Cooper Union na Manhattan. Ọ bụ ezie na okwu a lekwasịrị anya n'ihe gbasara ụmụ nwanyị na nnyocha, ajụjụ Adichie mere gbasara ihe mere profaịlụ Clinton Twitter ji malite site na "nwunye" kama ihe ndị o mere ghọrọ isi ihe ndị mgbasa ozi na-elekwasị anya, [44][45][46] kpaliri Clinton ịgbanwe akụkọ ndụ ya na Twitter.[46] Mgbe e mesịrị n'afọ ahụ, o kwuru okwu na Frankfurt Book Fair na Germany gbasara imebi usoro nke na-eme ka olu ụmụ nwanyị ghara ịdị mma.[47] Na 2019, dịka akụkụ nke usoro nkuzi nke Chancellor, o kwuru okwu "Onye edemede, onye na-eche echiche, onye na-achọ ihe: onye na-egosi ndụ" na Langford Auditorium nke Vanderbilt University. Okwu ahụ lekwasịrị anya n'ọganihu ya dịka onye na-akọ akụkọ, na ihe kpatara ya ji emeso enweghị nha anya n'usoro iji mepụta ụwa nke na-agụnye mmadụ niile.[48] Adichie abụrụla onye isi okwu n'ọtụtụ ogbako ụwa.[49] Na 2018, o kwuru okwu na Mgbakọ Mba Nile nke Igbo nke asaa kwa afọ.[50] O kwuru okwu na Mgbakọ Ọrụ Ndị Mmadụ nke Hilton nke Conrad N. Hilton Foundation na 2019.[51] O kwuru okwu gbasara ime ihe ike na nkuzi Gabriel García Márquez nke mbụ na Cartagena, Colombia n'otu afọ ahụ.[52] Adichie bụ onye Afrịka mbụ kwuru okwu na Ụbọchị Klas nke Yale University, ebe o kwuru okwu nkuzi n'afọ 2019.[53]

2020–ugbu a: Mbipụta akwụkwọ ụmụaka, mgbasa ọrụ

[dezie | dezie ebe o si]

Na 2020, Adichie bipụtara "Zikora", akụkọ dị mkpirikpi gbasara mmekọahụ na ịbụ nne na-alụbeghị di,[54] na edemede akpọrọ "Ndetu na Iru újú" na The New Yorker, mgbe nna ya nwụsịrị. O gbasaa edemede ahụ ka ọ bụrụ akwụkwọ nke otu aha ahụ nke Fourth Estate bipụtara n'afọ sochirinụ.[55][56] N'afọ 2020, Adichie bipụtara We Should All Be Feminists na mbipụta maka ụmụaka, nke Leire Salaberria sere.[57] E nyere ikike maka ntụgharị ya maka mbipụta na asụsụ Croatian, French, Korean, Portuguese, na Spanish.[58] O kwuru okwu isi okwu na 2020 Congreso Futuro [es] (Ọgbakọ Ọdịnihu) na Santiago, Chile.[59] Ọ bụ onye isi okwu n'emume akwụkwọ mba ụwa nke Reykjavik nke afọ 2021 nke emere na sinima Háskólbíó na Mahadum nke Iceland, ma kwuo okwu ahụ bụ "In Pursuit of Joy: On Storytelling, Feminism, and Changing My Mind".[60] Na 30 Nọvemba 2022, Adichie kwuru okwu mbụ n'ime BBC nke afọ 2022 Reith Lectures, nke sitere n'okwu [[[Franklin D. Roosevelt]] nke "Four Freedoms" kpaliri.[61]

Adichie ji otu afọ na ọkara rụọ ọrụ n'akwụkwọ mbụ ya nke ụmụ ya, Mama's Sleeping Scarf, nke e dere na 2019 ma bipụta ya na 2023 site na ya. HarperCollins n'okpuru aha njirimara "Nwa Grace na James".[lower-alpha 1][62] Ihe osise maka akwụkwọ a bụ nke Joelle Avelino, onye di mba Congo na Angola.[63] N'afọ 2025, Adichie bipụtara akwụkwọ akụkọ Dream Count, nke bụ akụkọ gbasara ụmụ nwanyị anọ si Africa, bụ ndị ndụ ha na-ejikọta ọnụ ka ha na-eche ihu ịhụnanya, mfu, na ntachi obi n'ofe Naịjirịa na Amerịka.[64] Mgbe ewepụtara akwụkwọ akụkọ a, Adichie malitere njem nleta ụlọ na Naịjirịa, yana mmemme ndị dị mkpa emere na Lagos (June 27), Abuja (Julaị 3), na Enugu (Julaị 5).[65] Dịka akụkụ nke njem ya, Adichie jere ozi dị ka ọkà okwu dị mkpa na Things Fall Apart Festival.[66][67]

Ụdị na isiokwu

[dezie | dezie ebe o si]

Ụdị ide ihe

[dezie | dezie ebe o si]

Adichie uses both Igbo and English in her works,[68] with Igbo phrases shown in italics, followed by the English translation.[69] She uses metaphors to trigger sensory experiences,[70] for example, the arrival of a king to challenge colonial and religious leaders in Purple Hibiscus symbolises Palm Sunday.[71] Her use of language referencing Achebe's Things Fall Apart invokes the memories of his work to her readers.[72] 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.[73] 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.[74] Adichie usually uses real places and historic figures to draw readers into her stories.[75]

In developing characters, Adichie often exaggerates attitudes to contrast the differences between traditional and western cultures.[76] Her stories often point out failed cultures, particularly those which leave her characters in a limbo between bad options.[77] At times, she creates a character as an oversimplified archetype of a particular aspect of cultural behaviour to create a foil for a more complex character.[78]

Igbo tradition

[dezie | dezie ebe o si]

Adichie gives her characters common names for an intended ethnicity, such as Mohammed for a Muslim character.[79] For Igbo characters, she invents names that convey Igbo naming traditions and depict the character's traits, personality, and social connections.[80] For example, in Half of a Yellow Sun, the character's name Ọlanna literally means "God's Gold", but Nwankwọ points out that Lua error in Module:Unicode_data at line 483: attempt to index field 'scripts' (a boolean value). means precious and nna means father (which can be understood as either God the father or a parent).[81] By shunning popular Igbo names, Adichie intentionally imbues her characters with multi-ethnic, gender-plural, global personas.[82] She typically does not use English names for African characters but, when she does, it is a device to represent negative traits or behaviours.[83]

Adichie draws on figures from Igbo oral tradition to present facts in the style of historical fiction.[84] 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,[85] 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.[86] 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.[87][88]

Adichie often separates characters into social classes to illustrate social ambiguities and traditional hierarchies.[89][90] 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.[91] Adichie is encouraging her readers to recognise their own responsibility to one another, and the injustice that exists in the world.[92] 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.[93] 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.[94]

In both her written works and public speaking, Adichie incorporates humour, and uses anecdotes, irony and satire to underscore a particular point of view.[34][95] 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.[96]

Themes

[dezie | dezie ebe o si]

Adichie, in a 2011 conversation with Kenyan writer Binyavanga Wainaina, stated that the overriding theme of her works was love.[97] 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.[98] Adichie frequently explores the intersections of class, culture, gender, (post-)imperialism, power, race and religion.[99] Struggle is a predominant theme throughout African literature,[100] and her works follow that tradition by examining families, communities, and relationships.[101] Her explorations go beyond political strife and the struggle for rights, and typically examine humanity.[102] Many of her writings deal with the way her characters reconcile themselves with trauma in their lives[103] and how they move from being silenced and voiceless to self-empowered and able to tell their own stories.[104]

Adichie's works generally examine cultural identity,[76] especially Igbo identity which celebrate the Igbo language and culture, and illustrate African patriotism, in general.[105] Her writing is an intentional dialogue with the West, intent on reclaiming African dignity and humanity.[97] A recurring theme in Adichie's works is the Biafran War. The 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.[106][107] 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.[108]

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.[109] It appeared in both Purple Hibiscus and Americanah as the site of resistance to authoritarian rule through civil disobedience and dissent by students.[110] The university teaches the colonial accounts of history and develops the means to contest its distortions through indigenous knowledge,[111] by recognising that colonial literature tells only part of the story and minimises African contributions.[112] 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.[111]

Adichie's works about African diaspora consistently examine themes of belonging, adaptation and discrimination.[70] This is often shown as an obsession to assimilate and is demonstrated by characters changing their names,[78] a common theme in Adiche's short fiction, which serves to point out hypocrisy.[113] 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.[114]

In Dear Ijeawele or A Feminist Manifesto in Fifteen Suggestions 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.[115] Dear Ijeawele stresses the political importance of using African names,[116] rejecting colorism,[117] exercising freedom of expression in how they wear their hair (including rejecting patronising curiosity about it)[118] 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.[119] Her women characters repeatedly resist being defined by stereotypes and embody a quest for women's empowerment.[120]

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", Adichie examined these themes using the family as a miniature representation of violence.[121] 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,[122] 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.[87][123][124] 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.[123] 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.[125]

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.[98] 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.[107] Other forms of violence are repeated themes in Purple Hibiscus, Half of a Yellow Sun and The Thing Around Your Neck;[107][101] these themes symbolise the universality of power, or the impact and manifestation in society of its misuse.[92]

Echiche

[dezie | dezie ebe o si]

Fashion

[dezie | dezie ebe o si]
Front cover of a print magazine
Adichie on the cover of Ms. in 2014

Adichie, in a 2014 article written for Elle,[126] wrote that "women who wanted to be taken seriously were supposed to substantiate their seriousness with a studied indifference to appearance."[127] According to her, the western concept contrasted with her Nigerian upbringing where one's attention to fashion and style correlates to the amount of prestige and respectability he/she will be given by society.[128] She stated that people are judged the way they dress.[129] Acknowledging the relationship between beauty, fashion, style and socio-political inequalities, Adichie became committed to promoting body positivity as a means to acquire agency.[128][129]

Adichie was included on Vanity FairTempleeti:`s 2016 International Best-Dressed List, and cited Michelle Obama as her style idol.[130][131] 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".[132][133] 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.[133][132][134] 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".[135] She became the face of No.7, a makeup brand division of British drugstore retailer Boots.[136] 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".[131]

On 8 May 2017, Adichie announced her "Wear Nigerian" campaign on her Facebook page.[137][138] She set up an Instagram account that her nieces Chisom and Amaka managed,[137] and gained around 600,000 followers.[139] According to Adichie, her 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.[140] She won a Shorty Award in 2018 for the campaign,[141] and in 2019 was selected as one of 15 women to appear on the cover of British Vogue in an issue guest-edited by Meghan, Duchess of Sussex.[142] In a 2021 discussion at Düsseldorfer Schauspielhaus with the former Chancellor of Germany, Angela Merkel, and journalists Miriam Meckel and Léa Steinacker, Adichie said that she often uses fashion to educate people about diversity.[143]

Religion

[dezie | dezie ebe o si]

Although Adichie was raised as a Catholic, she considers her views, especially those on feminism, to sometimes conflict with her religion.[144] As sectarian tensions in Nigeria arose between Christians and Muslims in 2012, she urged leaders to preach messages of peace and togetherness.[145] 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.[146]

In a 2017 event at Georgetown University, she stated that differences in ideology between Catholic and Church Mission Society leaders caused divisions in Nigerian society during her childhood, and that she had left the church around the time of the inauguration of Pope Benedict XVI in 2005.[147] She acknowledged that the teachings of Pope Francis, who was elected in 2013, and the birth of her daughter in 2016 drew her back to the Catholic faith and spurred her decision to raise her child as Catholic.[147] 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".[146]

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.[148][149] In her 2021 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.[148]

Gay rights

[dezie | dezie ebe o si]

Adichie is an activist and supporter of LGBT rights in Africa and has been vocal in her support for LGBT rights in Nigeria.[150][151] When Nigeria passed an anti-homosexuality bill in 2014, she was among the Nigerian writers who objected 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".[152] Adichie was close friends with Kenyan writer Binyavanga Wainaina who publicly came out in 2014.[153][154] 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."[155]

Transgender inclusion

[dezie | dezie ebe o si]

Since 2017, Adichie has intermittently publicly discussed transgender topics, and some have accused her of transphobia.[156] In a 2017 Channel 4 interview, Adichie stated that the experiences of woman who "has lived as a man, with the privileges the world accords to men" are not the same experiences as "a woman who, from the beginning, has lived in the world as a woman".[157][151] In a follow-up Facebook post, she wrote 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.[151] She stressed 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.[151][158]

The controversy emerged again in 2020 when Adichie voiced support for J. K. Rowling's article on gender and sex, when she called it "perfectly reasonable" during an interview with the British newspaper, The Guardian.[159][160] The interview sparked a Twitter backlash from critics of her opinion, which included a former graduate of one of Adichie's writing workshops, Akwaeke Emezi.[161][160] 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.[162][156] The following month, LGBT community students at the University of Cape Town, South Africa, boycotted her public lecture on their campus.[156] Adichie stated in an interview with Otosirieze Obi-Young in September that she was "deeply hurt" by the backlash and that during the controversy, she had read anything she could find on trans topics to help her understand what was going on.[10]

In late 2022, Adichie faced further criticism for her views after another interview with The Guardian when she said, "So somebody who looks like my brother—he says, 'I'm a woman', and walks into the women's bathroom, and a woman goes, 'You're not supposed to be here', and she's transphobic?"[157][163][164] The magazine PinkNews said that Adichie "remains insensitive" and that she was using "harmful rhetoric".[164] Academic Cheryl Stobie said that Adichie supported an "exclusionary conceptualisation of gender".[165] Researcher B. Camminga stated that Adichie's fame led to her comments on trans women being elevated and the voices of other African women, both trans and cis, being silenced.[166]

Ndụ nkeonwe

[dezie | dezie ebe o si]

Adichie bụ Katọlik.[7] N'oge ọ bụ nwata, parish ezinụlọ ya bụ Chọọchị Katọlik nke St. Paul dị na Abba.[10] Ọ bi na US karịsịa, ebe o nwere ọnọdụ obibi na-adịgide adịgide,[39] mana ọ na-elekọtakwa ebe obibi na Naịjirịa.[7]

Na 2009, ọ lụrụ dọkịta Naịjirịa Ivara Esege.[7] Ha nwere ụmụ atọ; A mụrụ nwa ha nwanyị n'afọ 2016,[167] na ejima nwoke n'afọ 2024, dịka Adichie si kwuo n'ajụjụ ọnụ ya na akwụkwọ akụkọ Britain The Guardian.[168] Dịka ya si kwuo, surrogate buru nwa ikpeazụ ahụ.[169] Otu n'ime ejima ahụ, Nkanu Nnamdi, nwụrụ na Jenụwarị 7, 2026 mgbe ọ dị ọnwa 21, mgbe ọ rịasịrị ọrịa.[170][171] Adichie kwuru ihe kpatara ọnwụ nwa ya nwoke dịka nleghara anya ahụike nke Ụlọ Ọgwụ Euracare dị na Lagos, ebe a nabatara Nkanu. Akụkụ nke nleghara anya ahụ, dịka ya si kwuo, gụnyere ịjụ ikuku oxygen, na ime ka nwatakịrị ahụ daa jụụ, nke butere njide obi. Ụlọ ọgwụ ahụ gosiri ezinụlọ ahụ mwute ha, mana ha gọnarịrị ebubo ndị ahụ.[172] A ga-amalite nnyocha gbasara ọnwụ nwa ya nwoke na 14 Eprel 2026.[173] Emesịa, a kwụsịtụrụ nyocha ahụ n'ihi ntinye aka a na-atụghị anya ya site n'aka Ọkaiwu Ukwu nke Lagos State.[174]

Na 2 Mee 2015, a tọọrọ nna Adichie ma mesịa tọhapụ ya ụbọchị ole na ole ka e mesịrị.[35] Nna ya nwụrụ n'ihi ọrịa akụrụ na 2020, n'oge ọrịa COVID-19,[175] nne ya nwụkwara na 2021.[5]

Ihe ncheta

[dezie | dezie ebe o si]

Influence

[dezie | dezie ebe o si]

Larissa MacFarquhar of The New Yorker stated that Adichie is "regarded as one of the most vital and original novelists of her generation".[7] Her works have been translated into more than 30 languages.[43] 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".[10] 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.[176] Her novel Americanah sold 500,000 copies in the US within two years of its 2013 release.[176][177] As of 2022, "The Danger of a Single Story" had received more than 27 million views.[178] As of 1 September 2023, the talk is one of the top 25 most viewed TED Talks of all time.[179]

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".[159] Adichie has become "a global feminist icon" and a recognised "public thinker" per journalist Lauren Alix Brown.[180] Parts of Adichie's TEDx Talk "We Should All Be Feminists" were sampled in the song "Flawless" by Beyoncé on 13 December 2013.[181] 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."[182]

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".[183] 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.[184] 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".[185]

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.[186] 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 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.[187]

Luke Ndidi Okolo, a lecturer a Nnamdi Azikiwe University said:[188]

Templeeti:Blockquote

Adichie's work has garnered significant critical acclaim and numerous awards.[189][190] 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,[191] while Izuu Nwankwọ called her invented Igbo naming scheme as an "artform", which she has perfected in her works.[82] He lauded her ability to insert Igbo language and meaning into an English-language text without disrupting the flow or distorting the storyline.[192] In the judgement of Ernest Emenyonu, one of the most prominent scholars of Igbo literature,[193] Adichie was "the leading and most engaging voice of her era" and he has described her as "Africa's preeminent storyteller".[194] Toyin Falola, a professor of history, hailed her along other writers, as "intellectual heroes".[185] 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."[195] She has been widely recognised as "the literary daughter of Chinua Achebe".[196] Jane Shilling of the Daily Telegraph called her "one who makes storytelling seem as easy as birdsong".[197]

Adichie has gained wide praise for her speeches and lectures.[150][34][28] 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.[198] 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.[31] 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".[199] 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.[200]

Critical reputation

[dezie | dezie ebe o si]

Lua error in package.lua at line 80: module 'Module:Format link' not found. Adichie received a MacArthur Fellowship in 2008,[21] with her other academic awards including the 2011–2012 Fellowship of the Radcliffe Institute for Advanced Study at Harvard University.[22] In 2002, she was shortlisted for the Caine Prize for African Writing for her story "You in America".[13][201] 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.[202]

Her 2003 debut novel, Purple Hibiscus, was well received, earning positive reviews.[10][23] The book sold well and was awarded the Commonwealth Writers' Prize for the Best Book (2005), Hurston/Wright Legacy Award, and was shortlisted for the Orange Prize for Fiction (2004).[202][23] Half of a Yellow Sun (2006) garnered further acclaim, including winning the Orange Prize for Fiction in 2007,[203] the International Nonino Prize (2009),[204][205] and the Anisfield-Wolf Book Award.[202] Adichie's story collection The Thing Around Your Neck was the runner-up to the Dayton Literary Peace Prize for 2010.[206] One story from the book, "Ceiling", was included in The Best American Short Stories 2011.[207] Americanah was listed among The New York Times "10 Best Books of 2013",[202][208] and won the National Book Critics Circle Award (2014),[10][209][210] and the One City One Book (2017).[211] Her book Dear Ijeawele, translated into 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.[212][213]

A Black woman with short, curly hair speaks into a microphone in a warmly lit room. She is wearing a black and white striped dress and layered necklaces. Behind her are wooden-framed windows and decorative cobwebs on the wall. A water pitcher sits on the table in front of her, and there are people in the audience.
Adichie at an event related to her book The Thing Around Your Neck, 2010

Adichie was a finalist of the Andrew Carnegie Medal for Excellence in Fiction (2014).[214] She won the Barnard Medal of Distinction (2016),[215] and the W. E. B. Du Bois Medal (2022), the highest honour in the field of African and African American studies from Harvard University.[216] She was listed in The New Yorker's "20 Under 40" authors in 2010, and in 2014 was selected for Africa39, a project initiated by the Hay Festival.[217][202] She was named on the Time 100 list in 2015,[218] and was on The Africa Report's list of the "100 Most Influential Africans" in 2019.[219] 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.[220][221] 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; Adichie's Half of a Yellow Sun won the award.[222]

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.[223] As of March 2022, Adichie had received 16 honorary degrees from universities[224] President of Nigeria Muhammadu Buhari selected her as a recipient of the Order of the Federal Republic in 2022,[225] but Adichie rejected the national distinction.[226] On 30 December 2022, Adichie was honoured with the title of "Odeluwa", a chieftaincy position, by her hometown of Abba in Anambra State, making her the first woman to receive a chieftaincy title in Abba.[227][228]

Ndekọ akwụkwọ

[dezie | dezie ebe o si]

Akwụkwọ akụkọ

[dezie | dezie ebe o si]

Nchịkọta akụkọ dị mkpirikpi

[dezie | dezie ebe o si]

Akwụkwọ ncheta

[dezie | dezie ebe o si]

Akwụkwọ ndị na-abụghị akụkọ ifo

[dezie | dezie ebe o si]

Edensibia

[dezie | dezie ebe o si]

Notes

[dezie | dezie ebe o si]
  1. ↑ Aha njirimara "Nwa Grace na James" bụ nraranye Adichie nyere ndị mụrụ ya, dịka Nwa pụtara "child" n'asụsụ bekee.[62][63]

Citations

[dezie | dezie ebe o si]
  1. 1 2 Olonilua, Ademola. "ICYMI: My parents did not name me Chimamanda, says author, Adichie", 2 January 2021.
  2. 1 2 3 4 5 Mullane 2014.
  3. 1 2 3 Nwankwọ 2023.
  4. ↑ Akinyoade 2021.
  5. 1 2 3 4 This Day 2021.
  6. 1 2 3 The Sun 2019.
  7. 1 2 3 4 5 6 7 8 9 10 11 MacFarquhar 2018.
  8. 1 2 The Sun 2020.
  9. 1 2 Martin 2014.
  10. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Obi-Young 2021.
  11. ↑ Adichie 2006.
  12. 1 2 Murray 2007.
  13. 1 2 3 4 Anya 2005.
  14. 1 2 3 4 5 6 7 Tunca 2011.
  15. 1 2 3 Business Day 2016.
  16. ↑ Agbo 2018b.
  17. 1 2 3 4 5 Braimah 2018.
  18. ↑ Adichie 2000.
  19. ↑ Tunca 2010, pp. 297–298.
  20. ↑ Krieger 2015.
  21. 1 2 Irvine 2008.
  22. 1 2 Okachie 2011.
  23. 1 2 3 Obi-Young 2018.
  24. 1 2 McGrath 2006.
  25. ↑ Busby 2017.
  26. ↑ Madueke 2019, p. 49.
  27. ↑ Kirkus Reviews 2009.
  28. 1 2 3 Wagner 2015.
  29. ↑ Calkin 2013.
  30. 1 2 Stephen-David 2013.
  31. 1 2 Behrmann 2017, p. 316.
  32. ↑ France 24 2015.
  33. ↑ Ememyonu 2017, p. 3.
  34. 1 2 3 Anasuya 2015.
  35. 1 2 3 Lee 2015.
  36. ↑ Sefa-Boakye 2015.
  37. ↑ Greenberg 2017.
  38. ↑ Bhuta 2018, p. 319.
  39. 1 2 3 4 Pearce 2017.
  40. 1 2 3 Cain 2016.
  41. ↑ Mgbọrọgwụ 2016.
  42. ↑ Mkpọrọgwụ 2016.
  43. 1 2 Luckett 2018, p. 155.
  44. ↑ Abimbola 2018.
  45. ↑ Grady 2018.
  46. 1 2 Adebayo 2018.
  47. ↑ Saeed 2018.
  48. ↑ Gonçalves 2019.
  49. ↑ Bernardi & Picarelli 2022, pp. 218–219.
  50. ↑ Ekpo 2018.
  51. ↑ Rios 2019.
  52. ↑ Rojas 2019.
  53. ↑ Vanguard 2019.
  54. ↑ Law 2020.
  55. ↑ Iju Mmiri 2021a.
  56. ↑ Lozada 2021.
  57. ↑ Diario de Sevilla 2020.
  58. ↑ Foreign Rights Catalog 2021, p. 109.
  59. ↑ Espinoza Cárdenas 2020.
  60. ↑ RIKK 2021.
  61. ↑ BBC Radio 2022.
  62. 1 2 Obi-Young 2022.
  63. 1 2 Ibeh 2022.
  64. ↑ Templeeti:Kwuo akụkọ
  65. ↑ Templeeti:Crite web
  66. ↑ Egbejule, Eromo. "‘Anyị ga-adị n'otu’: Mkpu Chimamanda Ngozi Adichie na emume akwụkwọ Naịjirịa", The Guardian, 2025-07-09. (in en-GB)
  67. ↑ Templeeti:Kwuo web
  68. ↑ Ishaya & Gunn 2022, pp. 73–74.
  69. ↑ Ishaya & Gunn 2022, p. 78.
  70. 1 2 Tunca 2010, p. 296.
  71. ↑ Dube 2019, p. 225.
  72. ↑ Dube 2019, pp. 226–227.
  73. ↑ Nwankwọ 2023, p. 7.
  74. ↑ Mbah 2015, p. 352.
  75. ↑ Ejikeme 2017, p. 312.
  76. 1 2 Tunca 2010, p. 295.
  77. ↑ Tunca 2010, p. 305.
  78. 1 2 Tunca 2010, p. 297.
  79. ↑ Nwankwọ 2023, pp. 5–6.
  80. ↑ Nwankwọ 2023, pp. 2–3.
  81. ↑ Nwankwọ 2023, p. 5.
  82. 1 2 Nwankwọ 2023, p. 3.
  83. ↑ Nwankwọ 2023, p. 4.
  84. ↑ Egbunike 2017, pp. 18–19.
  85. ↑ Hewett 2005, p. 77.
  86. ↑ Vanzanten 2015, pp. 87–88.
  87. 1 2 Hewett 2005, p. 80.
  88. ↑ Vanzanten 2015, p. 90.
  89. ↑ Ndula 2017, pp. 32.
  90. ↑ Sharobeem 2015, p. 26.
  91. ↑ Ejikeme 2017, p. 309.
  92. 1 2 Carotenuto 2017, p. 173.
  93. ↑ Ordu 2021, pp. 61–63.
  94. ↑ Ordu 2021, p. 70.
  95. ↑ Anthony 2023.
  96. ↑ Dabiri 2015.
  97. 1 2 Tunca 2018, p. 111.
  98. 1 2 Tunca 2018, p. 112.
  99. ↑ Dube 2019, p. 222.
  100. ↑ Hewett 2005, p. 76.
  101. 1 2 Hewett 2005, pp. 79–80.
  102. ↑ Hewett 2005, p. 90.
  103. ↑ Hewett 2005, p. 84.
  104. ↑ Hewett 2005, pp. 85–86.
  105. ↑ Ishaya & Gunn 2022, p. 74.
  106. ↑ Hewett 2005, p. 79.
  107. 1 2 3 Abba 2021, p. 5.
  108. ↑ Abba 2021, p. 3.
  109. ↑ Chimamanda Ngozi Adichie: Reimagining Nigeria, Redefining the World.
  110. ↑ Egbunike 2017, p. 20.
  111. 1 2 Egbunike 2017, p. 21.
  112. ↑ Egbunike 2017, p. 22.
  113. ↑ Tunca 2010, pp. 299–300.
  114. ↑ Bragg 2017, p. 130.
  115. ↑ Sebola 2022, pp. 1–2.
  116. ↑ Sebola 2022, pp. 2–3.
  117. ↑ Sebola 2022, pp. 3–4.
  118. ↑ Sebola 2022, p. 5.
  119. ↑ Sebola 2022, p. 6.
  120. ↑ Sebola 2022, pp. 6–7.
  121. ↑ Egbunike 2017, p. 26.
  122. ↑ Hewett 2005, p. 81.
  123. 1 2 Roifah 2021, p. 179.
  124. ↑ Daniels 2022, p. 54.
  125. ↑ Roifah 2021, pp. 182–183.
  126. ↑ Adichie 2014.
  127. ↑ Mannur 2017, p. 411.
  128. 1 2 Bernardi & Picarelli 2022, p. 216.
  129. 1 2 Mannur 2017, p. 412.
  130. ↑ Vanity Fair 2016, p. 144.
  131. 1 2 Safronova 2016.
  132. 1 2 Brockes 2017.
  133. 1 2 Medrano 2016.
  134. ↑ Ryan 2017.
  135. ↑ Lecznar 2017, p. 168.
  136. ↑ Weatherford 2016.
  137. 1 2 Idowu 2017.
  138. ↑ Hobdy 2020.
  139. ↑ Bernardi & Picarelli 2022, p. 218.
  140. ↑ Bernardi & Picarelli 2022, p. 217.
  141. ↑ Agbo 2018a.
  142. ↑ The Irish Times 2019.
  143. ↑ Gopalakrishnan 2021.
  144. ↑ Raised Catholic (en-US).
  145. ↑ Shariatmadari 2012.
  146. 1 2 Augoye 2021.
  147. 1 2 Pongsajapan 2017.
  148. 1 2 Sarr 2021.
  149. ↑ Adichie 2021.
  150. 1 2 Camminga 2020, p. 818.
  151. 1 2 3 4 Crockett 2017.
  152. ↑ Useni 2014.
  153. ↑ Malec 2017.
  154. ↑ Flood 2019.
  155. ↑ Dayo 2019.
  156. 1 2 3 Stobie 2021, p. 354.
  157. 1 2 Ring 2022.
  158. ↑ Camminga 2020, p. 820.
  159. 1 2 Allardice 2020.
  160. 1 2 Okafor 2020.
  161. ↑ Akhabau 2020.
  162. ↑ Flood 2021b.
  163. ↑ Williams 2022.
  164. 1 2 Baska 2022.
  165. ↑ Stobie 2021, p. 355.
  166. ↑ Camminga 2020, p. 819.
  167. ↑ Chutel 2016.
  168. ↑ Edwardes 2025.
  169. ↑ Lee 2025.
  170. ↑ Ige 2026.
  171. ↑ Glynn 2026.
  172. ↑ Okafor 2026.
  173. ↑ Ewokor 2026.
  174. ↑ Oduah 2026.
  175. ↑ Broom 2021.
  176. 1 2 Obi-Young 2017.
  177. ↑ Germain 2015.
  178. ↑ Kumolu 2022.
  179. ↑ Assheton 2023.
  180. ↑ Brown 2017.
  181. ↑ Kiene 2016.
  182. ↑ Danielle 2014.
  183. ↑ Lecznar 2017, p. 169.
  184. ↑ Bernardi & Picarelli 2022, p. 220.
  185. 1 2 Olaopa 2022.
  186. ↑ Felperin 2013.
  187. ↑ El Mundo 2021.
  188. ↑ Okolo 2016, p. 12.
  189. ↑ Ishaya & Gunn 2022, p. 75.
  190. ↑ Hewett 2005, p. 75.
  191. ↑ Tunca 2010, p. 306.
  192. ↑ Nwankwọ 2023, p. 8.
  193. ↑ Igwe 2017, p. 7.
  194. ↑ Abba 2021, p. 2.
  195. ↑ Streeter 2021.
  196. ↑ Tunca 2018, p. 109.
  197. ↑ Shilling 2009.
  198. ↑ Behrmann 2017, p. 315.
  199. ↑ Ememyonu 2017, p. 1.
  200. ↑ Musila 2020, p. 807.
  201. ↑ Caine Prize 2009.
  202. 1 2 3 4 5 Leadership 2018.
  203. ↑ Majendie 2007.
  204. ↑ Medeossi 2009.
  205. ↑ Ogwude 2011, p. 122.
  206. ↑ Richardson 2011, pp. 114–115.
  207. ↑ Sam-Duru 2014.
  208. ↑ The New York Times 2013.
  209. ↑ National Book Critics 2014.
  210. ↑ Flood 2014.
  211. ↑ Weller 2017.
  212. ↑ TheCable 2017.
  213. ↑ Chela 2017.
  214. ↑ Italie 2014.
  215. ↑ Jaschik 2016.
  216. ↑ Edeme 2022a.
  217. ↑ Busby, Margaret (10 April 2014). Africa39: How we chose the writers for Port Harcourt World Book Capital 2014.
  218. ↑ Jones 2015.
  219. ↑ Ventures Africa 2019.
  220. ↑ Flood 2018a.
  221. ↑ Flood 2018b.
  222. ↑ Flood 2020.
  223. ↑ Ayo-Aderele 2017.
  224. ↑ Guardian Nigeria 2022.
  225. ↑ Ufuoma 2022.
  226. ↑ Olaiya 2022.
  227. ↑ Edeme 2022b.
  228. ↑ Okogba 2023.

Sources

[dezie | dezie ebe o si]
[dezie | dezie ebe o si]


Ewepụtara site na "https://ig.wikipedia.org/w/index.php?title=Chimamanda_Ngozi_Adichie&oldid=688332"