Biko: I just saw your cynical post. I appreciate the sagacious interventions on my behalf .
Well, I recently counted that my spouse and I have in our possession 542 autographed books (excluding autographed photos and published articles), including very precious autographs! My smile at your hostile query is that, if I were to read every last one of the autographed books (in addition to books in my history and law disciplines), Brother Bio, I won't have any eyesight left! Even Dr. Nnamdi Azikiwe, who donated tons of books to University of Nigeria, Nsukka, never claimed to have read all of them! He once told an interviewer that he was familiar with all the donated books, and I am also familiar with Sister Adichie's published books; I will find the time to read some of them thoroughly as I inch toward feminism, and she also keeps on working toward Pulitzer, Norma and Nobel Prizes!
By the way, Brother, why didn't you just -- as Baba Ijebu would have said -- call a spade a spade and, therefore, to tell me the answer, if you knew it? In fact, if you were ever in my class (as a young person) and answered questions this way, you would have ended the class with "F+" grade! Let's smile for the sake of comic relief!
A.B. Assensoh.
From: usaafricadialogue@googlegroups.com <usaafricadialogue@googlegroups.com> on behalf of Kwabena Akurang-Parry <kaparry@hotmail.com>
Sent: Sunday, October 29, 2017 6:53 PM
To: usaafricadialogue@googlegroups.com
Subject: Re: USA Africa Dialogue Series - Re: Chimamanda Ngozi Adichie, a Humanist On and Off the Page
Sent: Sunday, October 29, 2017 6:53 PM
To: usaafricadialogue@googlegroups.com
Subject: Re: USA Africa Dialogue Series - Re: Chimamanda Ngozi Adichie, a Humanist On and Off the Page
Based on your answer, Adichie implied that she was married, but did not touch on aspects of Opanyin Akwasi's quibble. Your answer is too harsh!
From: usaafricadialogue@googlegroups.com <usaafricadialogue@googlegroups.com> on behalf of Toyin Falola <toyinfalola@austin.utexas.edu>
Sent: October 29, 2017 2:01 PM
To: usaafricadialogue@googlegroups.com
Subject: Re: USA Africa Dialogue Series - Re: Chimamanda Ngozi Adichie, a Humanist On and Off the Page
Sent: October 29, 2017 2:01 PM
To: usaafricadialogue@googlegroups.com
Subject: Re: USA Africa Dialogue Series - Re: Chimamanda Ngozi Adichie, a Humanist On and Off the Page
Biko:
Is there a reason to recast a positive post into a negative one?
TF
On 10/29/17, 8:48 AM, "'Biko Agozino' via USA Africa Dialogue Series" <usaafricadialogue@googlegroups.com> wrote:
Akwasi, if you had read the story you would not have asked that question for Adichie had answered it when a Ghanain student in New York asked her how she could combine motherhood and her work. She answered that the young man should promise her that when he met a young father he would ask him how he combined fatherhood and his work. You got a signed copy of her book but your comment does not show that you have read any of her books. Seriously?
Biko
--------------------------------------------
On Sun, 29/10/17, Assensoh, Akwasi B. <aassenso@indiana.edu> wrote:
Subject: USA Africa Dialogue Series - Re: Chimamanda Ngozi Adichie, a Humanist On and Off the Page
To: "dialogue" <usaafricadialogue@googlegroups.com>
Cc: "anthony.a.akinola@gmail.com" <anthony.a.akinola@gmail.com>, "Doyin Coker-Kolo" <doyinck@gmail.com>, "Dawn" <dmwhiteh@gmail.com>, "Kanko, Cynthia" <ckanko@indiana.edu>, "Philip Aka" <philip_aka@hotmail.com>, "afaugustine@yahoo.com" <afaugustine@yahoo.com>, "Afoaku, Oyibo Helisita" <oafoaku@indiana.edu>, "Afoaku, Osita" <osafoaku@indiana.edu>
Date: Sunday, 29 October, 2017, 8:46
SIR Toyin:
I am yet to go through my copy of THE NEW YORK TIMES to
clip and save the story about our beloved Sister Adichie,
who has now joined -- at a comparatively youngish age
-- what Mwalimu (Nana) Ali A. Mazrui would easily
have described as "an exclusive club":
Public Intellectuals Network! Professor Mazrui, of course,
was one of them! Therefore, thank you very much for running
ahead with the very enticing Dialogue posting below.
In fact, when our Oregon campus brought writer Adichie to
a public event, soon after Professor Achebe joined our
distinguished ancestors, she looked very young, very
brilliant and ready to be someone's bride (or as her
fellow feminists would say, ready for
her to take a groom)! Most certainly, she made all of us,
originally from the beleaguered continent, proud that
night; her tribuite to Professor Chinua Achebe was profound
and majestic. Also, we were happy that she signed one of
her wonderful books for our
family that night.
We have heard that our famous Nigerian sister got
"hooked". So, who is the lucky or blessed man: a
Nigerian (or an African) Physician or a foreign Physician?
That is my important question!
A.B. Assensoh.
From:
usaafricadialogue@googlegroups.com
<usaafricadialogue@googlegroups.com> on behalf of
Toyin Falola <toyinfalola@austin.utexas.edu>
Sent: Saturday, October 28, 2017 11:28 AM
To: dialogue
Subject: USA Africa Dialogue Series - Chimamanda
Ngozi Adichie, a Humanist On and Off the Page
From The New York
Times:
Chimamanda Ngozi Adichie, a
Humanist On and Off the Page
She is the rare novelist to become
a public intellectual — as well as a defining voice on
race and gender for the digital age.
https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F10%2F16%2Ft-magazine%2Fchimamanda-ngozi-adichie.html%3Fmwrsm%3DEmail&data=02%7C01%7Cmayolusola%40hotmail.com%7C89956eddc91c4d3b4ec708d51ed5b1f8%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636448825521605360&sdata=wByLCb4FajVMJK9KoKSwy9iejRYaDD9hwZjfVJoW1zw%3D&reserved=0
Cover Photo
Adichie, photographed in the style
of Carrie Mae Weems's 1990 "The Kitchen Table Series."
Oscar de la Renta dress, $2,190,
saks.com. Antique earrings, $8,750, kentshire.com. Credit
Carrie Mae Weems. Styled by Malina Joseph Gilchrist
Chimamanda Ngozi
Adichie, a Humanist
On and Off the Page
She is the rare novelist to become
a public intellectual — as
well as a defining
voice on race and gender for the digital age.
By DAVE EGGERSOCT. 16, 2017
Continue
reading the main story Share This Page
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This story is one of the seven
covers of
T Magazine's Greats issue, on newsstands Oct.
22.
NOT LONG AGO, Chimamanda Ngozi
Adichie stood in front of a small class of literature
students at Cardozo high school in Washington, D.C. Over the
last few years, Adichie's books have appeared on thousands
of required-reading lists — more or less every American
student between 14 and 22 has been assigned her
work.
While introducing her, Dr. Frazier
O'Leary, the class's soft-spoken teacher, mentioned that
Adichie had visited at the school a few years before, and
that between that visit and this one, Adichie had had a
daughter, now 23 months old. Then he ceded the floor to
Adichie. She stood before the 20-odd students, her
fingertips on the podium, and swept her almond eyes around
the room.
"So, what should we talk
about?" she asked. In front of an audience, Adichie speaks
with great precision, measuring every word, her
Nigerian-British accent sounding to American ears both
opulent and daunting.
No one raised their
hand.
Adichie was wearing a T-shirt that
read, in glittering letters, "We Should All Be
Feminists," and she carried a Christian Dior bag that bore
the same message, both inspired by her
2012 TEDx Talk, which has been viewed over four million
times. The students had been assigned to read Adichie's
essay based on the talk, and thus it was dispiriting when
the first question came from a young man, originally from
Ghana, who very politely
asked how Adichie was balancing her work with the
responsibilities of motherhood.
Continue
reading the main story
Related Coverage
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Asked to the Bedroom,' a Micronovel by Chimamanda Ngozi
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20, 2017
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She looked down and smiled. She
took her time, and then, with her chin still lowered, she
raised her eyes to look kindly at the student.
"I'm going to answer your
question," she said, "but you have to promise me that
the next time you meet a new father, you ask him how he's
balancing his work and the responsibilities of
fatherhood."
The young man shrugged. Adichie,
who is 40, smiled warmly at him, but thereafter, the class,
already intimidated and shy, grew only more so.
"Why don't I read a bit?"
she said finally, and she did.
Photo
Prada dress, $3,610, (212) 334-8888.
Pilar Olaverri earrings, $300, pilarolaverri.com.
Paul Andrew shoes, $645, net-a-porter.com.
Credit Carrie Mae Weems. Styled by Malina Joseph Gilchrist
AFTERWARD, ADICHIE and I sat at a
restaurant in Columbia Heights. "He was quite sanguine,
wasn't he?" she said about the young man she'd
carefully corrected. "Maybe he's young enough that he
hasn't been indoctrinated
into the cult of how and when to take offense. He can still
look at the merits of an argument. Either that, or he was
looking pleasantly at me and thinking, 'Bitch, go
away.' "
Adichie looks with a gimlet eye at
American liberal doctrine, preferring open and frank debate
to the narrow constraints of approved messaging. Though she
is considered a global icon of feminism, she has,
on occasion, displeased progressive sects when she's
expressed her beliefs about gender with candor and without
using the latest terminology.
"It's a cannibalistic
ethos," she says about the American left. "It swiftly,
gleefully, brutally eats its own. There is such a quick
assumption of ill will and an increasing sanctimony and
humorlessness that
can often seem inhumane. It's almost as if the humanity
of people gets lost and what matters is that you abide to
every single rule in the handbook of American liberal
orthodoxy."
The day was not warm, but we
ordered lemonade. Moments later, the waiter said they needed
our table for a large party. We moved into a corner and the
waiter forgot about us completely. Which seemed improbable,
with Adichie's glittering bag on the table serving as a
kind of tabletop lighthouse.
"I'll have you know," she
said, "that this bag was designed by Maria Grazia Chiuri,
the first woman creative director at Dior. A very
interesting person. When she proposed the T-shirt, she sent
me a handwritten
note."
I asked if Dior planned to make
merchandise for every one of her books. Maybe a necklace
that said "The Thing Around Your Neck"? A sconce that
said "Half of a Yellow Sun"? Adichie laughed her
distinctive laugh,
which overtakes her whole torso but sounds like the giggle
of a teenager. I should note here that I've known Adichie
for about 10 years now, and she has always been startlingly
easy to make laugh, and one of her very favorite subjects
for ridicule is the exalted
reputation of Chimamanda Ngozi Adichie.
She grew up in an
upper-middle-class home, the fifth of six children. Her
father was a professor at the University of Nigeria, her
mother was the university's registrar — the first woman
to hold that post.
Her parents expected Chimamanda to be a doctor, and for a
year she studied medicine at university, but her heart
wasn't in it.
"When I said I wanted to write,
they were very supportive, which was very unusual," she
said. "Nobody just leaves medical school, especially given
it's fiercely competitive to get in. But I had a sister
who
was a doctor, another who was a pharmacist, a brother who
was an engineer. So my parents already had sensible children
who would be able to make an actual living, and I think they
felt comfortable sacrificing their one strange
child."
Adichie was just 26 when she
published her first novel, "Purple
Hibiscus," in 2003. It won the Commonwealth Writers'
Prize for Best First Book.
Her second, 2006's "Half
of a Yellow Sun," was a shimmering work of historical
fiction that reminded the world of the Biafran War and made
it deeply
personal; it won the Orange Broadband Prize for Fiction
(now called the Baileys Women's Prize for Fiction) and
garnered comparisons to one of her heroes, Chinua Achebe.
The next year, she won a MacArthur grant and found time to
finish a master's degree in
African studies at Yale. "The
Thing Around Your Neck," her first collection of
stories, was published in 2009, followed by 2013's "Americanah,"
an intimate and accessible multigenerational story about
family and immigration set in Nigeria and New Jersey. It won
the National Book Critics Circle Award and has become an
enduring best seller. While the majority of her previous
work had been tightly controlled
and gravely serious, "Americanah" was loose and
irreverent.
"I decided with that book that I
was going to have fun, and if nobody read it, that would be
fine," she said. "I was free of the burden of research
necessary for the other books. I was no longer the dutiful
daughter of literature."
In "Americanah," the
protagonist, a Nigerian woman named Ifemelu, moves to New
Jersey and is first confused and then amused by the cultural
differences between African-Americans and Africans living in
America.
Ifemelu decides to explore the subject in a blog called
Raceteenth or Various Observations About American Blacks
(Those Formerly Known as Negroes) by a Non-American Black.
Through the blog, Adichie was able to speak with disarming
forthrightness about life
as an African living in America: "I was tired of everyone
saying that when you write about race in America, it has to
be nuanced, it has to be subtle, it has to be this and
that."
The directness of the blog, I
suggested, seemed to provide a bridge to her TEDx Talk,
which became a book, which became a T-shirt and a
bag.
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"Yes and no," she said. "But
I'll allow your thesis." She laughed her
laugh.
Now there is a follow-up called
"Dear
Ijeawele,
or a Feminist Manifesto in Fifteen Suggestions."
Asked by a friend, a new mother, for advice in making her
daughter Chizalum a feminist, Adichie wrote another (very
direct, lucid) work. Suggestion No. 1 reads, "Be a full
person. Motherhood is a glorious
gift, but do not define yourself solely by motherhood."
No. 8: "Teach her to reject likability. Her job is not to
make herself likable, her job is to be her full self, a self
that is honest and aware of the equal humanity of other
people." And No. 15: "Teach
her about difference. Make difference ordinary. Make
difference normal. Teach her not to attach value to
difference."
The reaction to these manifestoes
among a reading public longing for probity and directness
has been profound. In a San Francisco auditorium last year,
I witnessed Adichie step onto the stage in front of almost
3,000 people — the average age of the audience was about
20. She wore ankara-patterned pants and a white blouse and
stood on four-inch heels, and the audience response was
euphoric.
"It's not that I told people
something they don't know, it's just that I did it in
language that was more accessible." She looked around the
restaurant. "But I don't think we're ever going to get
our lemonade."
ADICHIE AND HER HUSBAND, a
physician, spend half of each year in Maryland, and the
other half in Lagos, where they have a home and where her
extended family lives.
In Nigeria, Adichie is considered
a national icon, not only because her books have garnered
such acclaim, but because quickly after her success she
founded the Farafina Trust Creative Writing Workshop, a
program
where aspiring Nigerian writers spend a few weeks every
year workshopping with Adichie and a coterie of
international writers she brings to Lagos. She invited me to
teach there in 2009, and I got the chance to meet her family
and friends, all of whom were
supportive, kind, funny, devoted — it was all sickeningly
perfect.
One night, it became the obsession
of one of the guest lecturers, the Kenyan writer Binyavanga
Wainaina, to bring Adichie to one of Lagos's seamier
nightspots. He asked her where that would be. She had no
idea. "I'm a nice middle-class girl," she said,
laughing. "I don't know about such places." She was
serious, though. She did not know.
So we called Adichie's childhood
friend Chuma. He suggested Obalende, a district of Lagos
known for its nightclubs and strip clubs. Chuma picked us up
and drove us to a neighborhood where fish and plantains
were fried on the street, where the air was swampy with
weed. He chose a club with a slanted roof of corrugated
steel and Fela bursting from the sound system. We sat
outside on a humid night, Adichie game but wide-eyed. We
were visited by a street musician
who would not leave. Adichie requested Fela's "Unknown
Soldier" and he played it, and we stayed late, and most of
us got tipsy — even Adichie; she had one drink — and at
the end of the night, I was the only one fit to drive, which
I did, which everyone thought
very funny, especially when we were pulled over by a
traffic cop, who wanted a bribe. I did what I always do in
that situation, which was to act like the world's dumbest
tourist, and it worked. He let us go, and Adichie, in the
back seat, laughed all the way
home.
Chimamanda Ngozi Adichie is
featured on one of the covers of T's Oct. 22 Greats
issue.
See
the other six covers
A FEW MONTHS after her appearance
at Cardozo high school, Adichie was on a rooftop in downtown
D.C. It was breezy and the sky threatened rain. She had
agreed to attend a book release party celebrating a
collection
of essays called "Having to Tell Your Mother Is the
Hardest Part," written by D.C. public school students,
with guidance from tutors from 826DC, a nonprofit youth
writing organization with which I'm affiliated.
A tent had been set up, and
cocktails were served, and a young African-American man
stepped to the podium. He was delicately built for 15,
wearing a mustard-colored button-down, a tie and
thick-framed glasses.
"When I was 2 years old, my mom
and dad passed away," the boy, whose name was Edwyn, read.
"I was in and out of foster homes and was never in really
good care. The way I used to grieve was by not eating or
by fighting, and I always got in trouble. I would get angry
whenever someone said, 'Yo mama.' I felt like I wanted
to hurt someone. I have gotten past that, and now, I want to
take my meds so I can grow emotionally and become a better
me. I decided to try
group vigils where I can talk about my loss, but it has
never helped. I refused to share until, one time, I broke
down and shared everything."
The audience on the rooftop stood
spellbound. I looked over to Adichie. Her eyes were wet.
Edwyn continued. In a group home, he said, he almost stabbed
another boy. He almost flunked out of school. Finally,
he was adopted by a loving family who moved him to
Washington. "I was starting to mature," he read. "I
started to change. Now I'm in the 10th grade, writing
about how I used to grieve, but I am happy with the family I
am with."
His essay ended like that, and he
sat down with the unaffected attitude of a student who had
just read a paper about meiosis or the Louisiana Purchase.
Afterward, we approached Edwyn, who was now surrounded
by admirers. He shook Adichie's hand like a cocktail
party veteran, telling her he'd heard a lot about her and
was happy she was there.
"I thought you were very
brave," Adichie said evenly.
Word of Adichie's presence on
the roof began making its way through the attendees. Another
student, a gregarious young woman named Monae, approached.
"I didn't know you were here!" she said. "You were
the
one in Beyoncé's song!" (A few years ago, Beyoncé
sampled parts of Adichie's "We Should All Be
Feminists" talk in her 2013 song
"Flawless.")
"You have to read what I
wrote!" Monae said, and gave Adichie a copy of "Having
to Tell Your Mother Is the Hardest Part," opened to a
spread bearing her smiling face and her essay, titled
"Queen."
We made our way to a quiet part of
the rooftop and watched the adults swarm the
student-writers, getting their books signed.
"That is lovely," Adichie
said. "Just lovely."
After the party, we said goodbye
on the corner of Pennsylvania and 17th. Adichie's parents
were in town, visiting from Nigeria, and she had to get back
to Maryland.
"That boy," she said, and
sighed. She was still thinking about Edwyn. "There was
something so clean and pure and true about his writing,
don't you think? Increasingly I find that that's the
kind of thing I
want to read."
Click
here to download the cover.
Set design by Carin Scheve at Brydges Mackinney. Hair by
Jinn for R+Co. Makeup by Joanna Simkin at The Wall Group.
Washington, D.C. production by Anne Calamuci/Photogroup.
Photographer's assistant: James Wang. Stylist's
assistant: Angela Koh
A version of this article appears
in print on October 22, 2017, on Page M2156 of T Magazine
with the headline: Chimanada Ngozi Adichie.
Today's
Paper|Subscribe
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Is there a reason to recast a positive post into a negative one?
TF
On 10/29/17, 8:48 AM, "'Biko Agozino' via USA Africa Dialogue Series" <usaafricadialogue@googlegroups.com> wrote:
Akwasi, if you had read the story you would not have asked that question for Adichie had answered it when a Ghanain student in New York asked her how she could combine motherhood and her work. She answered that the young man should promise her that when he met a young father he would ask him how he combined fatherhood and his work. You got a signed copy of her book but your comment does not show that you have read any of her books. Seriously?
Biko
--------------------------------------------
On Sun, 29/10/17, Assensoh, Akwasi B. <aassenso@indiana.edu> wrote:
Subject: USA Africa Dialogue Series - Re: Chimamanda Ngozi Adichie, a Humanist On and Off the Page
To: "dialogue" <usaafricadialogue@googlegroups.com>
Cc: "anthony.a.akinola@gmail.com" <anthony.a.akinola@gmail.com>, "Doyin Coker-Kolo" <doyinck@gmail.com>, "Dawn" <dmwhiteh@gmail.com>, "Kanko, Cynthia" <ckanko@indiana.edu>, "Philip Aka" <philip_aka@hotmail.com>, "afaugustine@yahoo.com" <afaugustine@yahoo.com>, "Afoaku, Oyibo Helisita" <oafoaku@indiana.edu>, "Afoaku, Osita" <osafoaku@indiana.edu>
Date: Sunday, 29 October, 2017, 8:46
SIR Toyin:
I am yet to go through my copy of THE NEW YORK TIMES to
clip and save the story about our beloved Sister Adichie,
who has now joined -- at a comparatively youngish age
-- what Mwalimu (Nana) Ali A. Mazrui would easily
have described as "an exclusive club":
Public Intellectuals Network! Professor Mazrui, of course,
was one of them! Therefore, thank you very much for running
ahead with the very enticing Dialogue posting below.
In fact, when our Oregon campus brought writer Adichie to
a public event, soon after Professor Achebe joined our
distinguished ancestors, she looked very young, very
brilliant and ready to be someone's bride (or as her
fellow feminists would say, ready for
her to take a groom)! Most certainly, she made all of us,
originally from the beleaguered continent, proud that
night; her tribuite to Professor Chinua Achebe was profound
and majestic. Also, we were happy that she signed one of
her wonderful books for our
family that night.
We have heard that our famous Nigerian sister got
"hooked". So, who is the lucky or blessed man: a
Nigerian (or an African) Physician or a foreign Physician?
That is my important question!
A.B. Assensoh.
From:
usaafricadialogue@googlegroups.com
<usaafricadialogue@googlegroups.com> on behalf of
Toyin Falola <toyinfalola@austin.utexas.edu>
Sent: Saturday, October 28, 2017 11:28 AM
To: dialogue
Subject: USA Africa Dialogue Series - Chimamanda
Ngozi Adichie, a Humanist On and Off the Page
From The New York
Times:
Chimamanda Ngozi Adichie, a
Humanist On and Off the Page
She is the rare novelist to become
a public intellectual — as well as a defining voice on
race and gender for the digital age.
https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F10%2F16%2Ft-magazine%2Fchimamanda-ngozi-adichie.html%3Fmwrsm%3DEmail&data=02%7C01%7Cmayolusola%40hotmail.com%7C89956eddc91c4d3b4ec708d51ed5b1f8%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636448825521605360&sdata=wByLCb4FajVMJK9KoKSwy9iejRYaDD9hwZjfVJoW1zw%3D&reserved=0
Cover Photo
Adichie, photographed in the style
of Carrie Mae Weems's 1990 "The Kitchen Table Series."
Oscar de la Renta dress, $2,190,
saks.com. Antique earrings, $8,750, kentshire.com. Credit
Carrie Mae Weems. Styled by Malina Joseph Gilchrist
Chimamanda Ngozi
Adichie, a Humanist
On and Off the Page
She is the rare novelist to become
a public intellectual — as
well as a defining
voice on race and gender for the digital age.
By DAVE EGGERSOCT. 16, 2017
Continue
reading the main story Share This Page
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This story is one of the seven
covers of
T Magazine's Greats issue, on newsstands Oct.
22.
NOT LONG AGO, Chimamanda Ngozi
Adichie stood in front of a small class of literature
students at Cardozo high school in Washington, D.C. Over the
last few years, Adichie's books have appeared on thousands
of required-reading lists — more or less every American
student between 14 and 22 has been assigned her
work.
While introducing her, Dr. Frazier
O'Leary, the class's soft-spoken teacher, mentioned that
Adichie had visited at the school a few years before, and
that between that visit and this one, Adichie had had a
daughter, now 23 months old. Then he ceded the floor to
Adichie. She stood before the 20-odd students, her
fingertips on the podium, and swept her almond eyes around
the room.
"So, what should we talk
about?" she asked. In front of an audience, Adichie speaks
with great precision, measuring every word, her
Nigerian-British accent sounding to American ears both
opulent and daunting.
No one raised their
hand.
Adichie was wearing a T-shirt that
read, in glittering letters, "We Should All Be
Feminists," and she carried a Christian Dior bag that bore
the same message, both inspired by her
2012 TEDx Talk, which has been viewed over four million
times. The students had been assigned to read Adichie's
essay based on the talk, and thus it was dispiriting when
the first question came from a young man, originally from
Ghana, who very politely
asked how Adichie was balancing her work with the
responsibilities of motherhood.
Continue
reading the main story
Related Coverage
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Asked to the Bedroom,' a Micronovel by Chimamanda Ngozi
Adichie OCT.
20, 2017
To
the First Lady, With Love OCT. 17, 2016
T's
Oct. 22 Greats Issue
About
Last Night: T Magazine Celebrates the Greats OCT 20
Watch
Kids Sing Stephen Sondheim at T's Greats Party OCT 20
'Janelle
Asked to the Bedroom,' a Micronovel by Chimamanda Ngozi
Adichie OCT 20
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She looked down and smiled. She
took her time, and then, with her chin still lowered, she
raised her eyes to look kindly at the student.
"I'm going to answer your
question," she said, "but you have to promise me that
the next time you meet a new father, you ask him how he's
balancing his work and the responsibilities of
fatherhood."
The young man shrugged. Adichie,
who is 40, smiled warmly at him, but thereafter, the class,
already intimidated and shy, grew only more so.
"Why don't I read a bit?"
she said finally, and she did.
Photo
Prada dress, $3,610, (212) 334-8888.
Pilar Olaverri earrings, $300, pilarolaverri.com.
Paul Andrew shoes, $645, net-a-porter.com.
Credit Carrie Mae Weems. Styled by Malina Joseph Gilchrist
AFTERWARD, ADICHIE and I sat at a
restaurant in Columbia Heights. "He was quite sanguine,
wasn't he?" she said about the young man she'd
carefully corrected. "Maybe he's young enough that he
hasn't been indoctrinated
into the cult of how and when to take offense. He can still
look at the merits of an argument. Either that, or he was
looking pleasantly at me and thinking, 'Bitch, go
away.' "
Adichie looks with a gimlet eye at
American liberal doctrine, preferring open and frank debate
to the narrow constraints of approved messaging. Though she
is considered a global icon of feminism, she has,
on occasion, displeased progressive sects when she's
expressed her beliefs about gender with candor and without
using the latest terminology.
"It's a cannibalistic
ethos," she says about the American left. "It swiftly,
gleefully, brutally eats its own. There is such a quick
assumption of ill will and an increasing sanctimony and
humorlessness that
can often seem inhumane. It's almost as if the humanity
of people gets lost and what matters is that you abide to
every single rule in the handbook of American liberal
orthodoxy."
The day was not warm, but we
ordered lemonade. Moments later, the waiter said they needed
our table for a large party. We moved into a corner and the
waiter forgot about us completely. Which seemed improbable,
with Adichie's glittering bag on the table serving as a
kind of tabletop lighthouse.
"I'll have you know," she
said, "that this bag was designed by Maria Grazia Chiuri,
the first woman creative director at Dior. A very
interesting person. When she proposed the T-shirt, she sent
me a handwritten
note."
I asked if Dior planned to make
merchandise for every one of her books. Maybe a necklace
that said "The Thing Around Your Neck"? A sconce that
said "Half of a Yellow Sun"? Adichie laughed her
distinctive laugh,
which overtakes her whole torso but sounds like the giggle
of a teenager. I should note here that I've known Adichie
for about 10 years now, and she has always been startlingly
easy to make laugh, and one of her very favorite subjects
for ridicule is the exalted
reputation of Chimamanda Ngozi Adichie.
She grew up in an
upper-middle-class home, the fifth of six children. Her
father was a professor at the University of Nigeria, her
mother was the university's registrar — the first woman
to hold that post.
Her parents expected Chimamanda to be a doctor, and for a
year she studied medicine at university, but her heart
wasn't in it.
"When I said I wanted to write,
they were very supportive, which was very unusual," she
said. "Nobody just leaves medical school, especially given
it's fiercely competitive to get in. But I had a sister
who
was a doctor, another who was a pharmacist, a brother who
was an engineer. So my parents already had sensible children
who would be able to make an actual living, and I think they
felt comfortable sacrificing their one strange
child."
Adichie was just 26 when she
published her first novel, "Purple
Hibiscus," in 2003. It won the Commonwealth Writers'
Prize for Best First Book.
Her second, 2006's "Half
of a Yellow Sun," was a shimmering work of historical
fiction that reminded the world of the Biafran War and made
it deeply
personal; it won the Orange Broadband Prize for Fiction
(now called the Baileys Women's Prize for Fiction) and
garnered comparisons to one of her heroes, Chinua Achebe.
The next year, she won a MacArthur grant and found time to
finish a master's degree in
African studies at Yale. "The
Thing Around Your Neck," her first collection of
stories, was published in 2009, followed by 2013's "Americanah,"
an intimate and accessible multigenerational story about
family and immigration set in Nigeria and New Jersey. It won
the National Book Critics Circle Award and has become an
enduring best seller. While the majority of her previous
work had been tightly controlled
and gravely serious, "Americanah" was loose and
irreverent.
"I decided with that book that I
was going to have fun, and if nobody read it, that would be
fine," she said. "I was free of the burden of research
necessary for the other books. I was no longer the dutiful
daughter of literature."
In "Americanah," the
protagonist, a Nigerian woman named Ifemelu, moves to New
Jersey and is first confused and then amused by the cultural
differences between African-Americans and Africans living in
America.
Ifemelu decides to explore the subject in a blog called
Raceteenth or Various Observations About American Blacks
(Those Formerly Known as Negroes) by a Non-American Black.
Through the blog, Adichie was able to speak with disarming
forthrightness about life
as an African living in America: "I was tired of everyone
saying that when you write about race in America, it has to
be nuanced, it has to be subtle, it has to be this and
that."
The directness of the blog, I
suggested, seemed to provide a bridge to her TEDx Talk,
which became a book, which became a T-shirt and a
bag.
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"Yes and no," she said. "But
I'll allow your thesis." She laughed her
laugh.
Now there is a follow-up called
"Dear
Ijeawele,
or a Feminist Manifesto in Fifteen Suggestions."
Asked by a friend, a new mother, for advice in making her
daughter Chizalum a feminist, Adichie wrote another (very
direct, lucid) work. Suggestion No. 1 reads, "Be a full
person. Motherhood is a glorious
gift, but do not define yourself solely by motherhood."
No. 8: "Teach her to reject likability. Her job is not to
make herself likable, her job is to be her full self, a self
that is honest and aware of the equal humanity of other
people." And No. 15: "Teach
her about difference. Make difference ordinary. Make
difference normal. Teach her not to attach value to
difference."
The reaction to these manifestoes
among a reading public longing for probity and directness
has been profound. In a San Francisco auditorium last year,
I witnessed Adichie step onto the stage in front of almost
3,000 people — the average age of the audience was about
20. She wore ankara-patterned pants and a white blouse and
stood on four-inch heels, and the audience response was
euphoric.
"It's not that I told people
something they don't know, it's just that I did it in
language that was more accessible." She looked around the
restaurant. "But I don't think we're ever going to get
our lemonade."
ADICHIE AND HER HUSBAND, a
physician, spend half of each year in Maryland, and the
other half in Lagos, where they have a home and where her
extended family lives.
In Nigeria, Adichie is considered
a national icon, not only because her books have garnered
such acclaim, but because quickly after her success she
founded the Farafina Trust Creative Writing Workshop, a
program
where aspiring Nigerian writers spend a few weeks every
year workshopping with Adichie and a coterie of
international writers she brings to Lagos. She invited me to
teach there in 2009, and I got the chance to meet her family
and friends, all of whom were
supportive, kind, funny, devoted — it was all sickeningly
perfect.
One night, it became the obsession
of one of the guest lecturers, the Kenyan writer Binyavanga
Wainaina, to bring Adichie to one of Lagos's seamier
nightspots. He asked her where that would be. She had no
idea. "I'm a nice middle-class girl," she said,
laughing. "I don't know about such places." She was
serious, though. She did not know.
So we called Adichie's childhood
friend Chuma. He suggested Obalende, a district of Lagos
known for its nightclubs and strip clubs. Chuma picked us up
and drove us to a neighborhood where fish and plantains
were fried on the street, where the air was swampy with
weed. He chose a club with a slanted roof of corrugated
steel and Fela bursting from the sound system. We sat
outside on a humid night, Adichie game but wide-eyed. We
were visited by a street musician
who would not leave. Adichie requested Fela's "Unknown
Soldier" and he played it, and we stayed late, and most of
us got tipsy — even Adichie; she had one drink — and at
the end of the night, I was the only one fit to drive, which
I did, which everyone thought
very funny, especially when we were pulled over by a
traffic cop, who wanted a bribe. I did what I always do in
that situation, which was to act like the world's dumbest
tourist, and it worked. He let us go, and Adichie, in the
back seat, laughed all the way
home.
Chimamanda Ngozi Adichie is
featured on one of the covers of T's Oct. 22 Greats
issue.
See
the other six covers
A FEW MONTHS after her appearance
at Cardozo high school, Adichie was on a rooftop in downtown
D.C. It was breezy and the sky threatened rain. She had
agreed to attend a book release party celebrating a
collection
of essays called "Having to Tell Your Mother Is the
Hardest Part," written by D.C. public school students,
with guidance from tutors from 826DC, a nonprofit youth
writing organization with which I'm affiliated.
A tent had been set up, and
cocktails were served, and a young African-American man
stepped to the podium. He was delicately built for 15,
wearing a mustard-colored button-down, a tie and
thick-framed glasses.
"When I was 2 years old, my mom
and dad passed away," the boy, whose name was Edwyn, read.
"I was in and out of foster homes and was never in really
good care. The way I used to grieve was by not eating or
by fighting, and I always got in trouble. I would get angry
whenever someone said, 'Yo mama.' I felt like I wanted
to hurt someone. I have gotten past that, and now, I want to
take my meds so I can grow emotionally and become a better
me. I decided to try
group vigils where I can talk about my loss, but it has
never helped. I refused to share until, one time, I broke
down and shared everything."
The audience on the rooftop stood
spellbound. I looked over to Adichie. Her eyes were wet.
Edwyn continued. In a group home, he said, he almost stabbed
another boy. He almost flunked out of school. Finally,
he was adopted by a loving family who moved him to
Washington. "I was starting to mature," he read. "I
started to change. Now I'm in the 10th grade, writing
about how I used to grieve, but I am happy with the family I
am with."
His essay ended like that, and he
sat down with the unaffected attitude of a student who had
just read a paper about meiosis or the Louisiana Purchase.
Afterward, we approached Edwyn, who was now surrounded
by admirers. He shook Adichie's hand like a cocktail
party veteran, telling her he'd heard a lot about her and
was happy she was there.
"I thought you were very
brave," Adichie said evenly.
Word of Adichie's presence on
the roof began making its way through the attendees. Another
student, a gregarious young woman named Monae, approached.
"I didn't know you were here!" she said. "You were
the
one in Beyoncé's song!" (A few years ago, Beyoncé
sampled parts of Adichie's "We Should All Be
Feminists" talk in her 2013 song
"Flawless.")
"You have to read what I
wrote!" Monae said, and gave Adichie a copy of "Having
to Tell Your Mother Is the Hardest Part," opened to a
spread bearing her smiling face and her essay, titled
"Queen."
We made our way to a quiet part of
the rooftop and watched the adults swarm the
student-writers, getting their books signed.
"That is lovely," Adichie
said. "Just lovely."
After the party, we said goodbye
on the corner of Pennsylvania and 17th. Adichie's parents
were in town, visiting from Nigeria, and she had to get back
to Maryland.
"That boy," she said, and
sighed. She was still thinking about Edwyn. "There was
something so clean and pure and true about his writing,
don't you think? Increasingly I find that that's the
kind of thing I
want to read."
Click
here to download the cover.
Set design by Carin Scheve at Brydges Mackinney. Hair by
Jinn for R+Co. Makeup by Joanna Simkin at The Wall Group.
Washington, D.C. production by Anne Calamuci/Photogroup.
Photographer's assistant: James Wang. Stylist's
assistant: Angela Koh
A version of this article appears
in print on October 22, 2017, on Page M2156 of T Magazine
with the headline: Chimanada Ngozi Adichie.
Today's
Paper|Subscribe
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