Read an Excerpt From Chimamanda Ngozi Adichie's New Book on How To Raise a Feminist

Chimamanda Adichie's letter to a friend on how to raise a feminist, has been adapted into a short book entitled 'Dear Ijeawele, or a Feminist Manifesto in Fifteen Suggestions.'

Last October, Chimamanda Ngozi Adichie shared a 9,221 word feminist manifesto, via Facebook, in the form of a letter to her friend Ijeawele, who had just given birth to a daughter and sought Adichie's advice on how to raise her as a feminist. The letter was widely shared, and has now been extended and adapted into the author's latest book, Dear Ijeawele, Or A Feminist Manifesto In Fifteen Suggestions. 

Adichie, who has a 15 month old daughter, offers rich parenting wisdom through a set of tips aimed at helping mothers and fathers raise empowered children. She sheds light on an array of topics including the pressure put on girls to have presentable hair, the importance of gender-neutral toys and the rejecting of marriage and likability as necessary achievements for girls. The book also thoroughly explores the misuse of the word "feminism."

"We have to name something in order to fix it, which is why I insist on the word feminist or feminism.” Adichie says. "Many of my friends who are not white will say, ‘I’m an intersectional feminist,' or ‘I’m a womanist.’ And I have trouble with that word, because it has undertones of femininity as this mystical goddess-mother thing, which makes me uncomfortable. So we need a word. And my hope is we use ‘feminism’ often enough that it starts to lose all the stigma and becomes this inclusive, diverse thing,” she tells The Guardian.

In Dear Ijeawele, the feminist icon offers invaluable insight in a way that only she can. Read and excerpt from the book below, via The Guardian.

Be a full person. Motherhood is a glorious gift, but do not define yourself solely by it. You don’t even have to love your job; you can merely love the confidence and self-fulfilment that come with doing and earning. Please reject the idea that motherhood and work are mutually exclusive. Our mothers worked full-time while we were growing up, and we turned out well – at least you did; the jury is still out on me.

In these coming weeks of early motherhood, be kind to yourself. Ask for help. Expect to be helped. There is no such thing as a Superwoman. Parenting is about practice – and love.

Give yourself room to fail. A new mother does not necessarily know how to calm a crying baby. Read books, look things up on the internet, ask older parents, or just use trial and error. But, above all, take time for yourself. Nurture your own needs.

I have no interest in the debate about women “doing it all”, because it is a debate that assumes that caregiving and domestic work are singularly female domains, an idea that I strongly reject. Domestic work and caregiving should be gender-neutral, and we should be asking not whether a woman can “do it all”, but how best to support parents in their dual duties at work and at home.

Beware the danger of what I call Feminism Lite; the idea of conditional female equality. Being a feminist is like being pregnant. You either are or you are not. You either believe in the full equality of men and women, or you do not.


Teach your daughter to question language. A friend of mine says she will never call her daughter “princess”. The word is loaded with assumptions, of a girl’s delicacy, of the prince who will come to save her. This friend prefers “angel” and “star”. So decide the things you will not say to your child. You know that Igbo joke, used to tease girls who are being childish – “What are you doing? Don’t you know you are old enough to find a husband?” I used to say that often. But now I choose not to. I say, “You are old enough to find a job.” Because I do not believe that marriage is something we should teach young girls to aspire to.

Try not to use words like “misogyny” and “patriarchy”. We feminists can sometimes be too jargony. Teach her that if you criticise X in women but do not criticise X in men, you do not have a problem with X, you have a problem with women. For X please insert words like anger, ambition, loudness, stubbornness, coldness, ruthlessness.

Do you remember how we laughed and laughed at an atrociously written piece about me some years ago? The writer had accused me of being “angry”, as though “being angry” were something to be ashamed of. Of course I am angry. I am angry about racism. I am angry about sexism. But I recently came to the realisation that I am angrier about sexism than I am about racism. Because in my anger about sexism, I often feel lonely. Because I love, and live among, many people who easily acknowledge race injustice but not gender injustice.

Teach your daughter to question men who can have empathy for women only if they see them as relational rather than as individual equal humans. Men who, when discussing rape, will say something like, “If it were my daughter or wife or sister.” Yet such men do not need to imagine a male victim of crime as a brother or son in order to feel empathy.

Teach her, too, to question the idea of women as a special species. I once heard an American politician, in his bid to show his support for women, speak of how women should be “revered” and “championed” – a sentiment that is all too common. Tell her that women don’t need to be championed and revered; they just need to be treated as equal human beings.

The book is available in stores staring today.

Photo: courtesy of Natsai Audrey Chieza

100 Women: Natsai Audrey Chieza is Changing the World One Petri Dish at a Time

Her interdisciplinary approach to biology and fashion has sparked conversation about the future of sustainability and pollution in textile manufacturing.

The bold jewel tones of OkayAfrica 100 Women honoree Natsai Audrey Chieza's silk scarves aren't the product of hazardous chemicals or silkscreen printing. Instead, they are the product of bacteria. Specifically coelicolor, a strain of bacteria found in soil that happens to excellently synthesize organic chemical compounds. Working in the trade for six years, the Zimbabwean materials designer quickly came to understand why the textile industry is one of the most polluting industries in the world. Knowing that the most harm occurs during the process of dyeing fabrics, she decided to take action.

Chieza has worked with leading brands such as Microsoft, Nissan, and Unilever to usher in a new approach to science and design. Through her creative R&D; studio Faber Futures, the design innovator uses the process of creating with bacteria to assist in moving mankind away from our fossil fuel dependency. As the biopigment expert put it [last year during her TED talk "Fashion has a pollution problem—can biology fix it?"], in the future we must make sure that we are not "mirroring the destructive legacies of the oil age."

Her interdisciplinary approach to biology and fashion has sparked spirited conversation about the future of sustainability and pollution in textiles. Here, Chieza expounds on her start, the pros and cons of creating something new and the urgency of change.

The following has been edited for length and clarity

Akinyi Ochieng for OkayAfrica: STEM and the arts are often conceptualized as separate worlds. However, in your career, you've managed to find the overlap. How did you, a materials designer, end up dabbling in biotechnology?

Natsai Audrey Chieza: I've always really wanted to work within the creative field. I used to work in architecture where I really enjoyed my education in a systems approach to designs and designing for multiple contexts. But I wanted to explore a different side of the design world, so I began exploring the skill and context of material flows, and how technology and futures fits within this framework of how we design.

For my own work and my practice, not having a scientific background made me try things based on what I understood about materials and what I understood about the interactions in which those materials existed in society. I'm interested in a political lens, an economic lens, and how textiles perform in reality. That's not necessarily the approach that a scientist would have taken. Now that's not to say that science isn't important—it's vital. But innovation can occur in that intersection.

Did you go into this thinking, "Oh, I'll figure it out. There must be a path to make this work"?

To be honest, when I started off, the field was not defined. I think I found something really interesting, which was about how biology was becoming a realm of design, and I just explored that as best as I knew how as a designer and non-scientist. It just so happened that around me there was a context that was imagined but enabled me six years later to say, "That's the industry where this work belongs" and stakeholders who give me a space to further my work in a creative and experimental. The path was never anything clear at all. I learned as I grew.

There's a phrase that is often repeated today: "You can't be what you can't see." But you have really created a niche for yourself. What are the benefits of entering an emerging space?

I think what's amazing is not having anyone or anything telling you that what you think is impossible. If you're carving a new territory then you must trust in your instinct and vision to effectively push where the work can be and where it exists. You're not asking permission to do anything. Of course the flip side of that is you have to bring people with you, and so part of you being able to do the work is convincing people that your vision has legitimacy and it's worth exploring, worth taking a risk to look outside of that box.

It's often quite challenging to figure out how to find the strength to push something that hasn't been done before. There's no precedent or rulebook to my work, but sometimes it's really nice to have a rulebook. [Laughs] However, I think it's made me a person who doesn't see challenges as obstacles that are in the way, but more as problems that can be solved. And I think that's the good thing.

Much of your work is about biopigments. What color excites you?

It's not really the colors that excite me. It's color as a cultural context that really fascinates me. I'm really interested in if a microbe is almost like this living factory that produces this pigment, and the technology can be shared and deployed with people as to how you work with it across the world, then what are the cultural interventions that can happen in South Africa versus in Argentina versus in the United Kingdom, based on this common microbe. I think that's always been what interests me the most, the context in which our materials exist. I think a really good example is indigo, and how from Japan to West Africa, indigo is just this really, really rich material, and the process and the craftsmanship that goes into it. I'm interested to see how the future ecology of making arises in response to biotechnologies across the world.

Where do you see yourself and your work evolving in the near or long term?

I'm sort of going through that growth moment where you've been working toward something and then you've arrived at that and you're like, "Right, what's next?" I think I'm fundamentally somebody that wants to use design as a discursive tool to understand how our technologies proliferate. My focus is really on the imagined life sciences and how they're going to become very much a part of all of our lived experiences, and particularly in the context of really urgent changes that are happening from a local level to a global level. From global warming and climate change to resource scarcity across regions, our response to what I think being able to design with living systems, can afford us in the future. So my work really is about understanding how to engage stakeholders across different sectors to grow a consensus around how we're going to leverage these sorts of technologies so that they can be technologies for good. That's really where this is going.

This article appears as part of OkayAfrica's 100 Women 2018—a project highlighting the impactful work done by African women across the globe. Throughout March, we will be publishing a series of profiles, videos, interviews and feature stories on these inspirational women.

Click here to see the entire list of 2018 honorees.

Maia & The Big Sky LP cover.

Start Your Week Off Right With This Soulful Kenyan Collaboration

Maia & the Big Sky connect with Blinky Bill for "Pawa."

Maia & the Big Sky's music routinely blends soul and funk influences with the coastal rhythms of Kenya and features singing in both English and Kiswahili.

Maia's recently tapped into the vinyl revival wave as her 11-song Maia & the Big Sky LP is reportedly the first Kenyan album released on vinyl since the 1970s.

The Nairobi-based artist is now sharing the new music video for "Pawa," the album's leading track, which we're premiering here today. Directed by Chris King, the beautiful new clip sees Maia & the Big Sky taking over the TV airwaves and minds of all of those watching, freeing them from the "power" that controls them.

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Photo: Mídia NINJA

The Assassination of Marielle Franco and the Dawn of Brazil's New Civil Rights Movement

Marielle Franco was one of a new generation of black activists trying to overturn Brazil's entrenched and violent racism

The violence in Rio de Janeiro right now is akin to a war zone, with per capita death tolls resembling those from Afghanistan and Syria. Two weeks ago I traveled there for business and stayed in the relatively safe and trendy neighborhood of Santa Teresa. Each night of my stay, was abruptly awaken by long streams of gunshots and also fireworks from the nearby favela of Falett. The fireworks—as I learned from my local friends—were not a result of any celebration, rather a signal that either drugs, guns, or the police have arrived. This is the norm for many of the 763 favelas in Rio which houses nearly 25 percent of the city's population.

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