Interview With Athena Dixon, Author of The Incredible Shrinking Woman [Giveaway]

A: Thank you for your time, Ms. Dixon! I got a chance to read your essay collection, The Incredible Shrinking Woman, and your poetry collection, No God In This Room, last month, and both pieces really resonated with me!

What was the process like writing and getting The Incredible Shrinking Woman published? Did you find your experience with an independent press different than working with a larger publisher?

AD: The manuscript started as a series of individual essays in 2012. I was going through a pretty rough breakup and I found poetry wasn’t giving me the space I needed to express everything I was feeling. I began writing personal essays as a remedy. In 2016, I attended a creative non-fiction conference and started toying with the idea of pulling together a book. I threw together every essay I’d written over that four-year span and started trying to make sense of it. It didn’t go too well and I went back and forth in adding and subtracting pieces from it. I continued to write and publish work from time to time and in late 2019 I thought I’d come up with a decent manuscript. I researched presses I thought would be a good home for the book and came up with a list of four. I did not pursue publishing with a larger press at all. Fortunately for me, Split/Lip was on my first-choice list and wanted to give the book home. 

Working with an independent press has been great! From the very beginning I’ve felt that they were not only interested in the book, but also me as a person. Writing personal essays can be a very scary thing and having a group of people working on your project who respect that is a gift. Being with an indie press allowed me to have a stronger voice in the kinds of edits I was willing or unwilling to accept. I also had amazing freedom in deciding on my cover design, promo events, and blurbs. It felt more like a collaboration than someone doing me a favor by publishing my work. 

Book Cover of The Incredible Shrinking Woman by Athena Dixon

A: Did you have a specific audience in mind when you were writing The Incredible Shrinking Woman

AD: I generally consider myself my first audience and from there I hope to find a connection with people who’ve had similar experiences. I hope that I am writing for people who feel on the fringes or invisible—kinda like background music. Those people who help make the world go ‘round but aren’t necessarily the ones in the spotlight. I think it is important to craft stories for audiences who are dynamic and interesting in ways that may not always get attention. There is a world of people who feel as if they don’t have a voice and I hope that in my exploration of my own invisibility and shrinking I am helping them be seen and heard as well.  

A: In a virtual craft chat with The Writer’s Center, you mentioned “wanting to be seen and then being afraid when you [were] seen [and] working through what you’re asking people to see.” Did this sentiment play into naming your essay collection The Incredible Shrinking Woman?

AD: The collection had several names, but this one seemed to fit the best once the final slate of essays was solidified. When I began writing, I thought I was writing about something completely different, but as the manuscript progressed it seemed more and more, I was writing about ideas of shrinking and invisibility. I’d never considered just how much time I’d spent trying to fit into boxes and roles that never seemed to contain all I believe I am. But I also had to confront what it means to be seen. Asking for it and actually having it are worlds different. There’s a bit of a play on words with the title, too. There is the active shrinking that takes place, but there are also elements of a sideshow or exposure in the use of the word incredible. 

Virtual Craft Chat with Athena Dixon

A: My favorite essay in your collection is “Reader’s Insert.” In the piece, you say:

“For as long as I can remember, I’ve slipped myself into roles that don’t quite fit, roles that aren’t quite real…I’ve always felt invisible, so accurately telling the story of me starts with a disappearing act. 

Invisible. It’s a word that has gotten blowback from friends and family in ways I never expected. I suppose they think they see me. But I don’t think anyone really does. At least in terms of a whole person, that is.”

This quote resonated with me because, as a Black woman, there seems to be a substantial gap between the expectations placed on us individually and as a group versus the actual empathy that is offered to us as human beings. Instead, we seem to be rendered as invisible or treated as pieces of a whole. Did your perception or definition of yourself change as you wrote this collection of essays and came into your voice as a writer?

AD: My greatest fear putting the collection in the world was being exposed and judged. I thought people would see me as weak or damaged in some way, but I found that I grew more confident personally and creatively as the collection took shape. I think it is partially because I was able to let go of some experiences that had been weighing me down and also realizing there are dynamic parts of me I should share with the world despite my fears.  As well, by examining some of the issues in the collection, I was able to see parts of myself I couldn’t while I was in the thick of it. I learned I am much stronger than I knew and that I have so much to offer to not only myself but also the world. I think writing the book helped me unlock portions of myself I’d hidden away in order to fit what I thought the world wanted to see of me. 

A: Your essay, “Native Tongue,” was another favorite for me. One of the things I loved about your essays is the way that you give voice to those Black girls who aren’t labeled as being “conventionally Black” in the way you described your cousins as being with their “Salt N’ Pepa hairstyles” or even your best friend, Greta.  Why was it important for you to tell this particular story of coming into your Blackness in “Native Tongue?”

AD: It was important for me because I think sometimes there’s an idea that if you are born into a particular background you settle in smoothly. For me, I always felt loved and cared for, but I struggled to find where I fit within the confines of the culture around me. I so badly wanted to be like my cousins and my parents, but I never considered the idea there were other avenues that were tailored to me. And I think it was important to recognize and acknowledge my own narrow view of what I thought Blackness entailed. 

A: There’s a line in “Vagina, Slightly Used,” where you say:

 “It’s because I’d felt so invisible my entire existence that I gathered greedily what was laid out before me. I’ve always felt like my being deemed desirable by a man was a fluke.” 

In the same way you give voice to the “non-conventional” Black girls, you represent for women who are believed to take up too much space physically with their bodies and those Black women who are denying themselves a “fairytale ending” because the world said we can’t/don’t deserve one. 

Currently, soundbites of “image consultants,” like Kevin Samuels, and celebrities, like B. Simone, are going viral for shaming Black women for daring to believing we deserve a happy ending. Do you feel as if there is starting to be a movement to commodify the inherent “shame” that Black women, like yourself and I, are fed throughout our lives by mass media and brands?

AD: I do. I think people are so intent on solidifying their own importance, and pockets, that they are willing to sacrifice the well-being of others in order to do so. I think it’s easy to prey on people’s insecurities while setting impossible standards they can never achieve because the goal posts always move. There is a part of me that feels some of this is a backlash to the “less desirable” women starting to gain confidence or ignoring what society thinks they should be. The shameful part of it is when other Black people, who know discrimination and harm first hand, take part in it denigrating their own people for the sake of profit and popularity.  

A: The Incredible Shrinking Woman is raw and has so many visceral moments that left me, as a reader, swept up emotionally in your words because of their authenticity and how true they rang in my lived experience as a Black woman. How were you able to draw on so many powerful emotions as a writer, and not become bogged down by them long enough to get your thoughts onto the paper?

AD: I was able to do that in some instances, but there were a few times that I got lost. I couldn’t read “Liturgy” without crying for about a year after I wrote it. Part of that was because I hadn’t really dealt with that grief. Fortunately, I’d processed, or started to process, most of the other topics I covered in the book. I look at my subjects as a bruise. If I can touch it and there is only an ache then I feel safe writing about it. If there is marked pain, then I know that I am not ready to fully explore that topic for public consumption. 

A: Music is heavily attached to your writing with your father being a DJ. What’s on your playlist now?

AD: I have a playlist for everything, but there are few things I have on repeat right now. “Everything I Wanted” by Nuq, “Moment” by Victoria Monet, “Good & Plenty” by Alex Isley, “I Mean It” by PJ, “Vibe” by Cookie Kawaii, and “Whoa (Remix)” by Snoh Aalegra feat Pharell Williams. I’ve also been using “Whatever Lola Wants” by Sarah Vaughn and “All Blues” by Miles Davis to craft a few pieces on my plate at the moment. 

A: What writers or pieces of art have influenced your writing?

AD: My absolute favorite book is Their Eyes Were Watching God by Zora Neale Hurston. I think it’s the perfect blend of storytelling and language. I come back to it often. I count is as the first time I read a piece of prose that made me understand there was no shame or fear in using your voice and dialect exactly as it was and that while language has rules that doesn’t mean how you craft it makes it any less valid. It was also the first book that overwhelmed at first, but I came back to and loved. I also find a of inspiration in Sonic Memories by Cija Jefferson, How to Sit by Tyrese Coleman, Men We Reaped by Jesmyn Ward, and anything by Kiese Laymon. Each of them has a way of making life beautifully elevated without being inaccessible. 

A: Do you have any advice you would give to people who want to write?

AD: I would say write for yourself before anyone else. If there is no heart or passion behind what you are writing your audience can tell. If you don’t like what you are writing why would your readers? 

A: Thank you so much for your time, Ms. Dixon! I can’t wait to read more of your work!

Athena Dixon’s Bio

Author, Athena Dixon

Born and raised in Northeast Ohio, Athena Dixon is a poet, essayist, and editor. She is the author of The Incredible Shrinking Woman (Split/Lip Press 2020) and No God In This Room  (Argus House Press 2018). Her work also appears in The BreakBeat Poets Vol. 2: Black Girl Magic (Haymarket Books).

Athena’s work has appeared in various publications both online and in print. She is a Pushcart Prize nominee (2016, 2017), a Best of the Net nominee (2017), a Callaloo fellow (Oxford 2017), a V.O.N.A. fellow (2018), and a Tin House Workshop attendee (Winter 2019).  Athena is a member of the Moving Forewards Memoir Writers Collective. Additionally, she has presented at AWP (2013, 2020), HippoCamp (2016, 2017, 2018, 2019, 2020) and The Muse and the Marketplace (2019) among other panels and conferences.

She is Founder of Linden Avenue Literary Journal (2012-2021). Athena is the co-host of the New Books in Poetry Podcast via the New Books Network.

She writes, edits, and resides in Philadelphia.

To win a copy of The Incredible Shrinking Woman, follow my blog via email or WordPress reader, and comment below your favorite poet or author you’ve been moved by. Extra entry for following me on Instagram @IntrovertInterrupted and share a screenshot of this post in your IG stories every 24-hours and tag me. The giveaway is open internationally!

Author Interview With Louisa Onomé, Author of “Like Home”

Synopsis

Fans of Netflix’s On My Block and readers of Elizabeth Acevedo and Angie Thomas will love this debut novel about a girl whose life is turned upside down after one local act of vandalism throws both her relationships and neighborhood into turmoil.

Book Cover of Like Home by Louisa Onomé

Chinelo, or Nelo as her best friend Kate calls her, is all about her neighborhood Ginger East. She loves its chill vibe, ride-or-die sense of community, and the memories she has growing up there with her friends. Ginger East isn’t what it used to be though. After a deadly incident at the local arcade, most of her friends’ families moved away. Kate, whose family owns the local corner store, is still there and as long as that stays constant, Nelo’s good.

When Kate’s parent’s store is vandalized and the vandal still at large, Nelo is shaken to her core. And then the police and the media get involved and more of the outside world descends upon Ginger East with promises to “fix the neighborhood.” Suddenly, Nelo finds herself in the middle of a drama unfolding on a national scale.

Worse yet, Kate is acting strange. She’s pushing Nelo away at the exact moment they need each other most. Now Nelo’s entire world is morphing into something she hates and she must figure out how to get things back on track or risk losing everything–and everyone–she loves.

Interview

A: Congratulations on your debut novel, Like Home, Ms. Onomé! What was the process like writing your first book?

LO: Thank you! The process was honestly pretty fun. I love every stage of writing a book because I tend to treat them as separate opportunities to fine-tune a story. When I was drafting, I had the most fun making things up and throwing things together to see what stuck. My process is a little chaotic. When I was revising (which I learned to do effectively while writing this book), I enjoyed asking myself tougher questions about how each character or each plot point was showing up. Overall, it was such a great learning experience.

A: The neighborhood of Ginger East felt so authentic to the story you’re telling about gentrification and coming of age in a place that others have written off as being “rundown” or “unfavorable.” Did you have any specific places that inspired the creation of Ginger East?

LO: Ginger East was loosely inspired by the neighbourhood I grew up in just west of Toronto. While the place I lived was more residential and had a mix of household incomes, it also had a growing immigrant population and was enriched by the experiences people brought to the neighbourhood. I was honestly very fortunate to have had that experience.

A: There is a strong sense of community that Chinelo constantly references within Like Home. How would you define community and how did you use that definition to influence how you wrote Chinelo and the characters of Ginger East in your novel?

LO: I define community as a place where you are seen and heard for who you authentically are. As such, Nelo really feels at home in Ginger East, not only because she grew up there and doesn’t know anywhere else, but because the people there understand her as well as she understands the area. It was important for me to define it that way because sometimes, as shown in Like Home, we live in communities where not everyone has our backs, but that doesn’t mean that they aren’t a part of the fabric of that neighbourhood. 

Spike Lee Tirade Against Gentrification ‘Get the F.. Outta Here’ Pratt Institute lecture Brooklyn, NY

A: My favorite part of Like Home is the passion you gave Chinelo for her neighborhood at such a young age. It reminded me a lot of what Spike Lee said at a lecture he gave in 2014 at Pratt Institute in honor of African-American History Month. 

During the lecture, Lee touched on how gentrification was ruining the local neighborhoods in the boroughs of New York City in his rant asking, “Why does it take an influx of white New Yorkers in the south Bronx, in Harlem, in Bed Stuy, in Crown Heights for the facilities to get better?… What about the people who are renting? They can’t afford it anymore!” 

Why was it so important for Chinelo, a sixteen-year-old teenager, to evoke the same disdain and possessiveness over the gentrification of her Ginger East community in your novel as Spike Lee, a then fifty-seven-year-old man, did for his neighborhood of Fort Greene?

LO: That’s such a great quote! In Like Home, Nelo’s possessiveness comes strictly from her inability to accept change. She’s sixteen and all she knows is the place she grew up. To see it change so brazenly without any regard for the people who live there, her family and friends, it begins to make sense how she would have such anger over new businesses moving in or rent prices increasing. Something she knows so well is being pulled out from underneath her by people she knows don’t care about people like her. That feeling of being neglected, of not really being seen, is a strong pain point for her and I think is something a lot of marginalized people can relate to.

A: In the same vein, Chinelo is facing an uphill battle trying to convince people in her age and friend group that fighting against Ginger East’s gentrification is important. This is in direct opposition to Maree, one of Chinelo’s ex-best friends, who becomes a social media influencer and capitalizes off her connection to what she deems her “old trashy neighborhood.” Why was it essential for you to include a character like Maree in Like Home and the discussion of gentrification in contrast to Chinelo?

LO: Great question! It was important to me because a lot of us have to deal with people like Maree in our daily lives. There is a recognition there, unfortunately. Maree represents the largest block that Chinelo has to face when it comes to attitudes about Ginger East and places like it: apathy. It’s one thing to try and change a place, but it’s harder to try and change someone’s mind. Chinelo believes if more people cared, then it would be possible to make a difference, but Maree exists in direct opposition to that in many ways. 

A: Black girlhood is a multi-faceted thing that can hold joy and beauty. However, it also can be a scary time in a Black girl’s life. Like Home strikes this wonderful chord where it is perfectly nostalgic of what being a teenager is like in the age of social media while also honoring the fact that Chinelo’s character is the child of immigrants and held to a different standard than others in her age group maybe. Were there any parts of your childhood as a Nigerian-Canadian author that you used as inspiration to writing Chinelo’s character?

LO: Yes I agree! It’s such a delicate time, but so multi-faceted. There were small instances I mined from my experience as a Nigerian-Canadian that I put into Nelo’s experiences, such as the chain messages from family, but not a lot of overt things. Instead, her Nigerian-Canadian identity is more in her way of being and existing in the world. I guess it’s like that for everybody, though.

A: In a blog post you did for the “Her Story: Ladies in Literature” series on Pop Goes the Reader’s last year, you made mention of the fact that when reading, you “[identify] with the quieter characters; ones whose motivations maybe are subtler, or ones who aren’t at the forefront of a conflict….[since] our motivations aren’t always lived out loud.” 

This quote really resonated with me because when reading about Chinelo, her character felt relatable. There’s a debate currently in the book community about how #OwnVoices authors are often asked to draw on traumatic or stereotypical experiences to get published, which does not always leave room for a “quiet character” in areas like Black Literature. Did you feel any pressure to make Chinelo or the story you wrote fit into either of these categories?

LO: Thank you, I’m so happy to hear that resonated with you. I’m thankful in that I didn’t feel that kind of pressure to make Chinelo anything other than who she is. I modelled her after the girls I had seen and the girl I had been growing up in the Greater Toronto Area. I know so many Chinelos. She’s not an uncommon figure around here: someone who has opinions, doesn’t always speak when spoken to, and prioritizes her friends and family above all else. I didn’t want to write a character who was meant to be some sort of martyr or one-size-fits-all representation for Black girls, because as we know, Black people aren’t a monolith. I hope readers can find comfort in knowing that even though Chinelo isn’t necessarily what you’d expect of a YA protagonist, she still has value.

Author, Louisa Onomé

A: Often, when I’m reading stories about activism in YA, it feels as if it’s taking place in a parallel universe based on how outlandish the methods and situations authors give their characters to carry out. Yet, the way you write about the grassroots movement Chinelo and her community put together to protest the gentrification of Ginger East feels very “do-able.” Is there a message about community involvement and activism that you want readers to take from Like Home?

LO: Yes, for sure. Oftentimes, labels can be somewhat daunting for those of us who just want to help in any way we can. I’d love for readers to take away the fact that all forms of help are different, and you don’t need to have the loudest voice to move the needle. I think it’s important to recognize that starting where you are, doing what you feel most comfortable with, is still good enough. 

A: What are some of your writing influences or authors you deem as “must-reads?”

LO: My biggest writing influences are usually music or video games, because I love to try and recapture emotions. But also, I’m such a fan of Nicola Yoon’s work. I think her writing is so sincere and so magical. I’m a big fan of the characterization in Mary H.K. Choi’s work too. 

A: What advice would you give to young writers looking to break into the publishing industry?

LO: Just like with reaching out and helping with causes you care about, it’s important with writing to start where you are. Write what makes you happy, write what makes you sad, write easy things, write hard things, find readers you can trust, take feedback, leave feedback, grow, continue to learn. Be as ready as possible for when your number is called, because it will be!

Thank you so much for your time and for the opportunity to interview you, Ms. Onomé!

Like Home is out now!

MLK Giveaway Hop

The MLK Giveaway Hop is hosted by The Caffeinated Reviewer & Mocha Girls Read !

Image created by Mocha Girls Read

Welcome to my stop on the MLK Giveaway Hop, which is hosted by The Caffeinated Reviewer & Mocha Girls Read.  The giveaway will last from Monday, January 18, to Monday, January 25, 2020.

Thank you to Harper Teen, Simon Teen, and Mahogany L. Browne for allowing me to receive finishing copies of the following books. Originally, these novels were meant for my Instagram Kwanzaa Giveaway. But, I wanted to give back to my subscribers for Martin Luther King, Jr. Day.

The Black Kids by Christina Hammonds Reed

Cover of The Black Kids
Author, Christina Hammonds Reed

Synopsis: This coming-of-age debut novel explores issues of race, class, and violence through the eyes of a wealthy black teenager whose family gets caught in the vortex of the 1992 Rodney King Riots. Ashley Bennett and her friends are living the charmed life. It’s the end of senior year. Everything changes one afternoon in April, when four LAPD officers are acquitted after beating a black man named Rodney King half to death. Suddenly, Ashley’s not just one of the girls. She’s one of the black kids.

As violent protests engulf LA and the city burns, Ashley tries to continue on as if life were normal. With her world splintering around her, Ashley, along with the rest of LA, is left to question who is the us? And who is the them?

Chlorine Sky by Mahogany L. Browne

Author, Mahogany L. Browne

Synopsis: A novel-in-verse about a young girl coming-of-age and stepping out of the shadow of her former best friend. Perfect for readers of Elizabeth Acevedo and Nikki Grimes. 

Cover of Chlorine Sky

She looks me hard in my eyes
& my knees lock into tree trunks
My eyes don’t dance like my heartbeat racing
They stare straight back hot daggers.
I remember things will never be the same.
I remember things.

With gritty and heartbreaking honesty, Mahogany L. Browne delivers a novel-in-verse about broken promises, fast rumors, and when growing up means growing apart from your best friend.

Early Departures by Justin A. Reynolds

Cover of Early Departures

Synopsis: Justin A. Reynolds, author of Opposite of Always, delivers another smart, funny, and powerful stand-alone YA contemporary novel, with a speculative twist in which Jamal’s best friend is brought back to life after a freak accident . . . but they only have a short time together before he will die again.

Jamal’s best friend, Q, doesn’t know he’s about to die . . . again.

He also doesn’t know that Jamal tried to save his life, rescuing him from drowning only to watch Q die later in the hospital. Even more complicated, Jamal and Q haven’t been best friends in two years—not since Jamal’s parents died in a car accident, leaving him and his sister to carry on without them. Grief swallowed Jamal whole, and he blamed Q for causing the accident.

Author, Justin A. Reynolds

But what if Jamal could have a second chance? An impossible chance that would grant him the opportunity to say goodbye to his best friend? A new health-care technology allows Q to be reanimated—brought back to life like the old Q again. But there’s a catch: Q will only reanimate for a short time before he dies . . . forever.

Jamal is determined to make things right with Q, but grief is hard to shake. And he can’t tell Q why he’s suddenly trying to be friends with him again. Because Q has no idea that he died, and Q’s mom is not about to let anyone ruin the miracle by telling him. How can Jamal fix his friendship with Q if he can’t tell him the truth?

Ways to enter the contest

To enter to win all three novels, you MUST:

  • Be subscribed to my blog via email or on WordPress
  • Like this post
  • Comment below with your favorite Young Adult read y an African or African-American author from 2020
  • An extra entry a piece will be given for anyone who follows me on Instagram (@IntrovertInterrupted) and twitter (@MakeItLITerary) and shares a photo or link to this giveaway. Tag me on each platform, so I can count your entry!

Happy Reading!

Adira

Calling on the Ancestors: A Book Review of The Deep by Rivers Solomon

If you know whence you came, there is really no limit to where you can go.” —James Baldwin

When I was teen, I read this book called, Like Sisters on the Homefront by Rita Williams-Garcia, and in it, there’s a part that talks about how one member of the main character’s family is entrusted with remembering the ancestral history in it’s entirety. When this person dies, he/she/they must pass on their family’s history to the next generation until it’s time for them to relinquish their role. As I came to the end of The Deep by Rivers Solomon’s book, I was put in mind of this practice of remembering.

As the descendant of American Chattel Slavery, I am many generations removed from my ancestral home. There is no one who can remember who we were or where we came from before my ancestors landed on the shores of Charleston, South Carolina chained up in the hull of a ship. Sadly, there is no one who can really tell us how our forefather and foremothers ended up on those ships to begin with. I am much like the lost mer-people that Solomon’s main character, Yetu, has the task with “reminding” about their history.

For me, reading Solomon’s book feels akin to being taunted. African-Americans have forever been set adrift in the world and the more we try to establish ourselves with traditions and culture, the world steals it from us idea by idea, stitch by stitch, and one collagen shot at a time. Therefore, when I listen to the song Solomon based their book off of by Clipping, and hear Daveed Diggs ask if “y’all remember?,” I find myself growing frustrated because I don’t remember! I’ve hit a road block after a period of time and no amount of Ancestry DNA reports will set me straight.


This song by Clipping. was done as an homage to the Detroit Acid / Techno duo, Drexciya. The band features David Diggs of Broadway Hamilton fame. Clipping has said that they are currently planning to release more music based off of Rivers Solomons’ book in the future.

If you are looking for a short book or love Science Fiction books, PLEASE read this! I would also suggest reading The Black God’s Drums by P. Djèlí Clark or The Binti Trilogy by Nnedi Okorafor.

“Vicissitudes,” Jason deCaires Taylor’s. Grenada, Museo Atlántico.

Likewise, if you are an art aficionado, please checkout Jason deCaires Taylor’s submerged artwork that is entitled, “Vicissitudes.” The work was done in honor of the African slaves that died during the Middle Passage and is eco friendly. Taylor, an Anglo-Guyanese sculptor, work is located in the Museo Atlántico, which is underwater near Grenada.

Through The Voice of the “Other:” Book Review on Americanah by Chimamanda Ngozi Adichie

 “I think you travel to search and you come back home to find yourself there.”  – Chimamanda Ngozi Adichie

I’ve been struggling to write a review for Chimamanda Ngozi Adichie’s book, Americanah for the past week due to mixed feelings about it. Upon finishing it, I was equal parts content and frustrated with the book. While it met my expectations in a way, I was also let down by certain aspects of the novel. I end up giving this book 4 stars due to a lackluster ending and the general feeling that Adichie only meant her characters to be mouthpieces to voice her feelings on different cultural and political topics.
 

At its heart, Americanah by Chimamanda Ngozi Adichie is a book about various immigrants who are trying to work their way through discovering what it means to be a part of the countries they’ve immigrated to while also holding on to their original cultures. Adichie’s story is told through the perspective of Ifemelu, a Nigerian blogger who has lived in America for thirteen years and Obinze, a wealthy Nigerian business man who still lives in Nigeria. From Ifemelu and Obinze’s perspective, the reader learns about different race issues that go on in America, the way the Nigerian government works, and hears the stories of different people who have settled abroad or come home to live in Nigeria after living abroad.

Comment below if you’ve read this book!

As the novel begins, Ifemelu is set to return home to Nigeria after her hiatus in America and decides to reconnect with her childhood sweetheart, Obinze. The two previously lost contact once Ifemelu went to America to finish college. By the time that Ifemelu reaches out to him, Obinze has moved on with his life and is married. Adichie makes it very obvious to the reader that the two characters have built separate lives from the ones that they once lived as carefree children who were oblivious to the ups and downs of Nigerian politics.

The pacing of this story was fairly good. The author was able to say a great deal about the Nigerian culture while also providing adequate details about each of the main characters’ lives. There were times in the book where the background history about Nigeria became long winded, but it never got to the point where I felt the need to put the book down. One thing that hindered the overall pacing of the story, though, was Adichie’s habit of adding different blog post from Ifemelu’s blog at different intervals in each chapter. While some of the post were interesting and thought provoking, others just seemed awkward in their placing or unnecessary altogether.

In terms of characters, Adichie creates solid ones to tell her story without making them seem overly preachy. Ifemelu’s character is pegged as someone who “tells it like it is” and isn’t afraid to call others out on their BS. Behind this character’s tough exterior, there is also an inquisitive nature that helps give her the initiative to voice her opinion about race relations in America and Nigeria and confront different issues that plague African immigrants and African-Americans. This bluntness in the character as she tries to gain an understanding of racial groups who are deemed as “the other” in America can also cause readers to label Ifemelu as a callused individual. Yet, Adichie makes it a point to eventually peel back this character’s layers and expose her reasoning behind each negative assessment of American and Nigerian culture.

On the other hand, Obinze is a character that is a dreamer at heart and is initially hell-bent on making his way to America to live out his fictional dream of “making it.” Mentally, he believes that life can only begin once he makes it to this glorified Mecca.  Obinze is an individual who also scrutinizes the immigrant’s life, but unlike Ifemelu, his character makes it a point to do so from the role of an unbiased onlooker opposed to a blunt critic. It would seem that his longing to become a part of the Western world keeps him from being overly harsh in his judgement of “the other’s” role in society in places like England and America.

With the building of Ifemelu and Obinze’s character, Adichie creates a storyline that holds the potential to be electric once it hits its climax, but it ends up falling flat for me due to its lack of originality. To me, this is extremely sad because for a good 3/4 of her book, Adichie makes powerful statements about race relations in America and politics in Nigeria. However, when it comes time to wrap up the loose ends of Ifemelu and Obinze’s love life, she creates a weak generic ending that feels dry and so unlike what her reader’s expect of her characters. In this way, I feel as if Adichie did more telling than actual showing in her book. I was truly interested in the cultural topics she spoke about, but by the end of the book, I got the feeling that she could’ve condensed the actual love story of Ifemelu and Obinze into a mere 150 to 200 pages and written another book about her feelings on race in America/ Immigration laws in America and England/ Nigerian politics.

I would definitely recommend this book to anyone who is interested in Nigerian culture or who wants to learn what the American or English culture looks like from a non-white immigrant’s perspective. However, if you aren’t interested in hearing a lot of back history to either of these culture’s, I would recommend reading something else.

As of September 2019, there has been word that Danai Gurira of Walking Dead and Marvel’s Black Panther and Avengers: Endgame fame is adapting the film as a limited 10-episode series for HBO Max. Gurira’s television series would include heavy hitters, such as the Oscar winning actress, Lupita Nyong’o, from Twelve Years A Slave fame and the Emmhy award winner, Uzo Aduba, of Orange is the New Black acclaim. If you’re excited about this adaptation, drop down below and leave a comment!

Cheers!