Reclaiming Her Voice

The ascent of Nigerian literature to global recognition, particularly in the second half of the twentieth century, cannot be denied. Currently the most populous African country, Nigeria is teeming with diversity. Under this vast umbrella thrive different ethnic groups, forming a lush tapestry that makes for a compelling literary landscape. Over the past few decades, Nigerian writers have left an indelible mark on global literature. Highly revered figures such as Amos Tutuola, Elechi Amadi, Chinua Achebe, and Ben Okri are among the most influential voices not only in contemporary African literature but also in world literature. They were among the pioneers who elevated Nigerian literature to global consciousness. Their works contributed greatly to the growing recognition of Nigerian literature and, in its wake, African literature as a whole. They have earned numerous accolades from across the world, with Okri’s The Famished Road winning the Booker Prize in 1991 and Achebe receiving the 2007 Man Booker International Prize.

Further underscoring the growing relevance of Nigerian literature is Wole Soyinka’s 1986 recognition by the Swedish Academy. He became the first Black African to be awarded the Nobel Prize in Literature, widely considered the most prestigious literary award in the world. Female Nigerian writers have also been trailblazers. Among the most prominent are Florence Nwapa and Buchi Emecheta. Nwapa is lauded by many literary critics as the mother of modern African literature. She was the first African woman to publish a novel in English internationally and is widely regarded as the forerunner of a new generation of African female writers. Emecheta was also highly respected by her peers and critics alike; in 2018, she was recognized by BBC History Magazine as one of the 100 women who changed the world. Following in their footsteps is a cohort of established and emerging literary stars such as Ayọ̀bámi Adébáyọ̀, Sefi Atta, and Oyinkan Braithwaite.

Among this new generation of Nigerian literary voices is Chimamanda Ngozi Adichie. Widely recognized as a central figure in postcolonial feminist literature, Adichie initially studied medicine in Nigeria before leaving for the United States. She later graduated from Eastern Connecticut State University with a degree in Communication and Political Science. While studying at university, she began writing. Her first work, Decisions, a poetry collection, was published in 1997, followed by the play For Love of Biafra (1998). However, she is best known for her novels. Her debut novel, Purple Hibiscus, published in 2003, was a literary sensation that earned her numerous accolades. It was shortlisted for the Orange Prize for Fiction and longlisted for the Booker Prize. In 2025, she made a long-awaited literary comeback with Dream Count, her fourth novel.

The point of art is to look at our world and be moved by it, and then to engage in a series of attempts at clearly seeing that world, interpreting it, questioning it. In all these forms of engagement, a kind of purity of purpose must prevail. It cannot be a gimmick, it must at some level be true. Only then can we reach reflection, illumination, and finally, hopefully, epiphany.

Chimamanda Ngozi Adichie, Dream Count

Dream Count is divided into five sections, each written from a distinct point of view. These sections chart the individual and intersecting lives of four women. The first character introduced is Chiamaka, or Chia for short, a travel writer born to a Nigerian family. She has since left her homeland, her parents, and her twin brothers and now lives alone in Maryland. The novel opens at the onset of the COVID-19 pandemic, with Chia struggling to adjust to its isolating effects. She keeps in touch with her family through Zoom calls; however, each call leaves her feeling lonelier. As the narrative progresses, it becomes clear that her life contains a gaping emptiness, and these calls serve as catalysts for deep reflection. Indeed, the pandemic set into motion a universal experience—a moment of self-examination. As silence envelops her and she falls into a routine of spending her days lying in bed, she begins to reflect on her life.

Chia’s loneliness and the apparent meaninglessness of her days cause her to question whether her life is being wasted. She drifts into memories of the past, particularly her relationships with men. Like many young girls, she once dreamed of romance. She imagined falling deeply in love and eventually getting married. It was not merely companionship she sought; she longed for a romance that would both sweep her off her feet and truly understand her. Life, however, had other plans. True love, after all, can be elusive. Chia would get involved with several men, none of whom fit her vision. Darnell, for instance, caused her to change herself to please him. She also dated Chuka, but eventually realized he was not who she wanted. Despite these introspections, Chia remains uncertain about how these experiences shaped her.

The second section charts the story of Zikora, Chia’s friend. A successful lawyer living in Washington, D.C., Zikora’s trademark is excellence. However, her carefully curated life drastically changed when she learned about her pregnancy. While she was pleasantly surprised, perhaps thrilled by the news, the same could not be said about her partner, Kwame. Rather than being excited about the news, Kwame fled Zikora’s home. To assist her during childbirth, Zikora’s mother travels from Nigeria. Through flashbacks, a vivid portrait of Zikora’s family history emerges, and her mother’s presence forces Zikora to confront long-held resentments. As a child, she blamed her mother for her father’s abandonment and his decision to take a second wife. After the birth of her son, Zikora continues updating Kwame, but he stops responding to her calls and eventually blocks her.

Meanwhile, Omelogor, Chia’s cousin, previously lived in the United States, where she worked as a banker, before returning to Nigeria and settling in Abuja. Like her cousin, the outbreak of COVID-19 and the imposition of lockdowns prompted her to reflect on her life and past relationships. Ambitious and driven, she worked in banking but eventually abandoned the profession to pursue graduate studies in pornography. She also launches a website offering advice to men about women. Her experiences in the United States leave a bitter aftertaste, contributing to her decision to return home. In her own way, Omelogor acts as a philanthropist, redistributing stolen money to women in her village through her so-called “Robyn Hood” grants.

I do like my life. I flail for meaning sometimes, maybe too often, but it is a full life, and a life I own. I have learned this of myself, that I cannot do without people and I cannot do without stretches of sustained isolation. To be alone is not always to be lonely. Sometimes I withdraw for weeks merely to be with myself, and I sink into reading, my life’s great pleasure, and I think, and I enjoy the silence of my own musing.

Chimamanda Ngozi Adichie, Dream Count

The novel’s emotional intensity deepens with the story of Kadiatou, Chia’s housekeeper. Unlike the other three women, who are Igbo, Kadiatou is not originally from Nigeria. She is a poor Francophone Guinean immigrant who grew up in a small Nigerian village. While the stories of the Igbo women offer only glimpses into their lives, Kadiatou’s narrative is expansive, tracing her life from childhood to her present predicament. She has a sister, Binta, who is her opposite—outgoing and bold, while Kadiatou is reserved and cautious. After their father’s death, Kadiatou begins imitating her sister, but Binta ultimately surpasses her, attending school and envisioning a different future. When tragedy strikes, Kadiatou is hastily married off to Saidou. A series of further misfortunes eventually leads to her reunion with Amadou, her childhood love, who returns from the United States. After rekindling their romance, they move to America, where Amadou is imprisoned for drug possession. Despite this, Kadiatou continues working as a hotel housekeeper in Washington, D.C., to provide stability for her daughter, Binta, whom she loves fiercely.

Adichie’s first novel in over a decade, Dream Count is multilayered in scope. On the surface, the novel captures how the COVID-19 pandemic shaped the world. A universal experience, the pandemic served as a catalyst for introspection. Stripped of the trappings of quotidian existence, the characters were forced to confront their desires, regrets, and, in particular, their relationships. The pandemic was also deeply personal for Adichie. She faced significant personal challenges, mainly stemming from the sudden demise of her parents. Combined with the pressures of motherhood, this loss plunged her into depression. In writing Dream Count, Adichie not only makes a timely literary return but also reclaims her voice and asserts control over her own narrative.

Interestingly and ironically, the women’s introspections often revolve around men, though family dynamics are also central. This focus renders them deeply relatable, as they yearn for authentic love and meaningful connections. Chia and Zikora, in particular, are romantically idealistic: Chia dreams of a fairytale romance and willingly reshapes herself for love. Zikora, meanwhile, seeks emotional safety and completeness. Omelogor, however, was antithetical, skeptical of romantic idealism. She views love as transient. Their lives, however, are more than about men and romantic relationships. Their lives are not defined solely by romance. defined by these relationships, they are more than the men they were involved with. Each woman harbors distinct dreams and aspirations, vividly rendered by Adichie.

Some long for domestic peace, while others pursue ambition. Often, they also fail, with men vicariously at the center of their disappointments. Societal expectations weigh heavily on them, exacerbated by the pressures they receive from familial expectations. Their stories were juxtaposed against a highly patriarchal society. Expanding on these themes, Adichie examines the dynamics of mother and daughter relationshipas a means of examining the transmission of generational trauma, as well as hope and tradition. Their stories highlight how the past continually shapes the present. Still, hope and forgiveness shine through as the characters scale societal expectations. Healing remains possible. Moments of confrontation are balanced by reconciliation.

I have always longed to be known, truly known, by another human being. Until a crack appears in the sky and widens and reveals us to ourselves, as the pandemic did, because it was during lockdown that I began to sift through my life, and to give names to things long unnamed.

Chimamanda Ngozi Adichie, Dream Count

The novel is notable for its expansive thematic reach. It explores the adverse effects of a chronically online existence. The novel also addresses racial discrimination, profiling, and the elusiveness of justice—particularly for those on society’s margins. The emotional core of Kadiatou’s story lies in her sexual assault by a VIP guest at the hotel where she works part-time. When she attempts to report the crime, she is met with disbelief from authorities and colleagues alike. This skepticism stems largely from racial profiling and her socioeconomic status. Her credibility is questioned, while the accused remains protected by power and influence. Kadiatou herself struggles to process the trauma, further complicating her pursuit of justice.

Zikora, Chia, and Omelogor ultimately rally behind her, highlighting the strength of female solidarity in the face of injustice. Kadiatou’s story is inspired by the real-life Dominique Strauss-Kahn case, in which the former IMF managing director was accused of sexual assault by Nafissatou Diallo, a hotel maid, in 2011. Although the case was dropped, subsequent allegations against Strauss-Kahn surfaced, underscoring the imbalance of power at play. While institutional justice proves elusive, Adichie emphasizes the importance of reclaiming one’s narrative. Kadiatou’s refusal to be silenced and the support and solidarity she received from her fellow women became a form of justice in itself, restoring dignity and acknowledging trauma.

Storytelling thus emerges as a central motif in Dream Count. The act of telling stories, secrets, and histories is a tool for survival. It is a source of potent power, especially for women whose voices have historically been suppressed. They are often doubted, but Adichie transforms storytelling into an assertion of truth and humanity. Dream Count itself stands as a testament to the power of narrative. In her author’s note, Adichie reflects on how art can restore humanity to those who have suffered injustice. None of the characters achieve perfect fulfillment; longing—for love, justice, or understanding—persists. Yet they learn to live with incompleteness, finding beauty in imperfection amid chaos.

Dream Count marks a remarkable literary comeback for Adichie. After a decade of relative silence, she reasserts her voice with clarity and force, imbuing her characters with the same resolve. The interwoven lives of Chia, Zikora, Omelogor, and Kadiatou encapsulate the experiences of modern African women. Their stories capture the burdens and blessings of inheritance. Their stories reflect a broader search for justice and meaning in an increasingly indifferent world. Adichie explores the intricacies of love, ambition, motherhood, and even survival. Dream Count is a timely and powerful story about the power held by women’s voices. Tender yet incisive, Dream Count is a powerful meditation on resilience, endurance, and the enduring strength of women’s voices.

Stories die and recede from collective memory merely for not having been told. Or a single version thrives because other versions are silenced. Imaginative retellings matter. Literature does truly instruct and delight—or at least it can. Literature keeps the faith and tells the story as reminder, as witness, as testament. Stories help us see ourselves and talk about ourselves.

Chimamanda Ngozi Adichie, Dream Count
Book Specs

Author: Chimamanda Ngozi Adichie
Publisher: Alfred A. Knopf
Publishing Date: 2025
Number of Pages: 399
Genre: Literary, Historical

Synopsis

Chiamaka is a Nigerian travel writer living in America. Alone in the midst of the pandemic, she recalls her past lovers and grapples with her choices and regrets. Zikora, her best friend, is a lawyer who has been successful at everything until – betrayed and brokenhearted – she must turn to the person she thought she needed least. Omelogor, Chiamaka’s bold, outspoken cousin, is a financial powerhouse in Nigeria who begins to question how well she knows herself. And Kadiatou, Chiamaka’s housekeeper, is proudly raising her daughter in America – but faces an unthinkable hardship that threatens all she has worked to achieve.

In Dream Count, Chimamanda Ngozi Adichie trains her fierce eye on these women in a sparkling, transcendent novel that takes up the very nature of love itself. Is it true happiness ever attainable or is it just a fleeting state? And how honest must we be with ourselves in order to love, and to be loved? A trenchant reflection on the choices we make and those made for us, on daughters and mothers, on our interconnected world, Dream Count pulses with emotional urgency and poignant, unflinching observations of the human heart, in language that soars with beauty and power. It confirms Adichie’s status as one of the most exciting and dynamic writers on the literary landscape.

About the Author

To learn more about the Nigerian literary superstar, Chimamanda Ngozi Adichie, click here.

When my mother died, too soon after my father, my life’s cover was ripped off, leaving behind an unmoored sense of nakedness, a straining and longing to take back time, a desperate addiction to looking away, a terror of acknowledgement, a fear of finality, and, most of all, ceaseless sadness and anger, each sometimes emerging wrapped in the other.

Chimamanda Ngozi Adichie, Dream Count