The Thing Around Your Neck the American Embassy Summary

Brusk-story collection by Chimamanda Ngozi Adichie

The Thing Effectually Your Neck
First UK edition
Author	Chimamanda Ngozi Adichie
Country	Nigeria
Language	English language
Publisher	Fourth Estate (UK) Alfred A. Knopf (Usa)
Publication date	2009
Media type	Print, Audio & eBook
Pages	300
ISBN	978-0-307-37523-0

The Thing Around Your Cervix is a short-story collection by Nigerian writer Chimamanda Ngozi Adichie, first published in April 2009 by Fourth Manor in the U.k. and past Knopf in the The states. It received many positive reviews, including: "She makes storytelling seem as easy as birdsong" ( Daily Telegraph );^[1] "Stunning. Like all fine storytellers, she leaves usa wanting more" ( The Times ).^[2]

Contents [ edit ]

"Cell Ane" (first published in The New Yorker ); in which a spoilt brother and son of a professor is sent to a Nigerian prison and ends up in the infamous Cell I.
"Faux" (offset published in Other Voices ) is set in Philadelphia and concerns Nkem, a immature mother whose fine art-dealer husband visits only ii months a year. She finds out that his lover has moved into their Lagos dwelling house.
"A Private Experience" (offset published in Virginia Quarterly Review ) in which two women caught up in a riot between Christians and Muslims take refuge in an abased store. This story highlighted the friendliness and peace between two women with unlike religions. It is told in a tertiary person's narrative so that the readers are put in an all-seeing position to empathise this idea.
"Ghosts" (first published in Zoetrope: All-Story ) in which a retired university professor looks back on his life.
"On Mon of Last Week" (kickoff published in Granta 98: The Deep End) in which Kamara, a Nigerian woman who has joined her husband in America takes a job as a nanny to an upper-grade family and becomes obsessed with the female parent.
"Jumping Monkey Colina" (first published in Granta 95: Loved Ones) is the about autobiographical story. It is set in Cape Town at a writers' retreat where authors from all over Africa gather, and tells of the conflicts experienced by the young Nigerian narrator.
"The Thing Around Your Neck" (first published in Prospect 99) a woman named Akunna gains a sought-after American visa and goes to live with her uncle; but he molests her and she ends up working equally a waitress in Connecticut. She ends up meeting a human whom she falls in love with, simply along the way experiences cultural difficulties with him.
"The American Embassy" (beginning published in PRISM international ) in which a adult female applies for asylum simply ends up walking away, unwilling to depict her son's murder for the sake of a visa.
"The Shivering", set on the campus of Princeton University it concerns a Catholic Nigerian woman whose swain has left her, finding solace in the earnest prayers of a stranger who knocks at her door.
"The Arrangers of Wedlock" (first published as "New Husband" in Iowa Review ) in which a newly married wife arrives in New York Metropolis with her husband; and finds she is unable to accept his rejection of their Nigerian identity.
"Tomorrow Is Too Far" (first published in Prospect 118) a immature adult female reveals the devastating secret of her blood brother's expiry.
"The Headstrong Historian" (first published in The New Yorker) covers the life-story of a adult female called Nwangba, who believes her husband was killed by his cousins and is determined to regain the inheritance for her son through his education by missionaries. Though her son didn't realise what she hoped, her granddaughter managed to call back it, highlighting the significance of belongings one's past and one'southward origin in order to thrive in the future.

Theme [ edit ]

Feminist analyses of Chimamanda Ngozi Adichie's "The Headstrong Historian" read the brusk story as a revisioning of Chinua Achebe's novel Things Fall Apart , offering a feminist perspective on the Southern Nigerian Igbo community and its experience with Western colonialism.^[3] ^[4] ^[5] Chikwenye Okonjo Ogunyemi criticises Nigerian literature for its exclusion of women.^[six] Adichie's gimmicky Elleke Boehmer commends "The Headstrong Historian" for its feminist agenda, which is identified as extending Achebe'south Things Fall Autonomously and challenging its account of Igbo history.^[vii]

Contemporary feminist scholar Anene Ejikeme notes that, since its publication in Western publishing outlets, Things Fall Apart has been celebrated as the authentic account of the tardily nineteenth-century Igbo feel during the colonial era.^[8] Neil 10 Kortenaar defines Achebe as a 'historian of Igboland'.^[ix] While this has been argued, Achebe maintains that "the world's stories should be told from many different perspectives".^[10] Ejikeme says that Adichie "forces us to acknowledge that in that location is not a "single story"of the Igbo by" past revising Achebe'southward business relationship and claiming a space for Igbo women.^[11] "The Danger of a Single Story" is one of Adichie'due south TED talks.^[12]

Adichie says that "The Headstrong Historian" was written in an effort to "imagine the life of [her] not bad-grandmother" after first reading Things Fall Autonomously, which she saw as a representation of her "not bad-grandfather's life".^[13] ^[14] In response to this gendered revisioning, Anene Ejikeme says that while ""The Headstrong Historian" writes with Achebe'southward canonical work, to say that "The Headstrong Historian" completes Things Autumn Apart is to foreclose the possibility of Africans telling multiple stories about the Igbo past".^[15] While Ejikeme argues that Adichie challenges Achebe'due south canonical say-so, Brian Doherty maintains that Adichie's feminising of the Igbo colonial experience is not exclusively critical. Doherty says that Adichie'due south feminist revision does non reimagine misrepresented perspectives in Achebe'due south text, but underrepresented perspectives, which acts as "a corrective lens to a venerated elder's myopic vision" of Igbo history.^[xvi]

Kamene Okonjo presents a feminist reading of 'The Headstrong Historian,' which says that Adichie establishes the historicity of her narrative by invoking Achebe'southward colonial context and representing the Igbo dual-sex system.^[17] In Women in Africa, Okonjo details how dual-sexual practice systems in pre-colonial Igboland gave women greater authorisation than the Western single-sex system.^[18] Research works past Nkiru Nzegwu and Ifi Amadiume also discuss Igbo women'due south commonage agency.^[19] ^[20] In "The Headstrong Historian", Nwamgba receives support from the Women'south Council when her tardily husband'south cousins steal his holding and, every bit a upshot, several women "sit on" the cousins.^[21] I criticism of Achebe's Things Fall Apart focuses on the representation of women every bit powerless in the Igbo tribal system, beyond conducting marriage ceremonies.^[22] Judith Van Allen notes that early ethnographic studies of Igbo communities annotate on the 1929 Women's War in southeastern Nigeria, a protest that saw Igbo women challenge the policies of the colonial regime.^[23] Rhonda Cobham'due south feminist reading says that while Achebe mentions the Women'south Council, he does non establish its borough agency, which saw women intervene in community disputes by "sitting on" men, thereby publicly shaming them.^[24] Cobhman says that Adichie locates Nwamgba's protests to the Women'southward Council in a historical context that counters Achebe's representation of oppressed Igbo women.

In her youth, Nwamgba defeats her brother in a wrestling friction match. This is considered by Daria Tunca to be an inversion of Okonkwo's masculinity, which was earned as a result of his ain wrestling victory.^[25] Tunca says that Adichie further remaps the ideal of masculinity in Things Fall Apart past presenting Obierika every bit a flute player, which is described in Achebe's text equally an "unmanly" characteristic.^[26] Tunca also says that Achebe'south Okonkwo is placed in the margins of Adichie's narrative: his name is mentioned twice, both in reference to his daughter. Conversely, Tunca also maintains that although Nwamgba "wrestled her brother to the ground", her father warns "everyone not to allow the news leave the chemical compound", in compliance with normative gender hierarchies.^[27]

Adichie comments on the marginalisation of women in Things Fall Autonomously, stating that it is "impossible, particularly for the contemporary reader, not to exist struck by the portrayal of gender in Things Autumn Apart, and the equating of weakness and inability with femaleness".^[28] Adichie besides defends the text and identifies Achebe'due south delineation of Okonkwo's headstrong girl equally an interrogation of the patriarchy.^[29] Susan Z. Andrade identifies Adichie as writing with Achebe, merely from a gendered angle: Andrade notes that "The Headstrong Historian" tells the same historical narrative, detailing Igbo life through the protagonist'south perspective and Igboland'southward experience under colonial dominion.^[30] Nevertheless, within this same cultural context, a different story is told; Adichie's account brings a adult female from the periphery of Achebe's text into the middle.^[31]

The chronology of "The Headstrong Historian" extends across Nwamgba'due south expiry and imagines the future of a third-generation Igbo woman. On her deathbed, Nwamgba is visited by her granddaughter Grace. At Nwangba'south bedside, Grace puts "down her schoolbag, inside of which was her textbook with a chapter called "The Pacification of the Primitive Tribes of Southern Nigeria", by an administrator from Worcestershire who had lived amidst them".^[32] Susan VanZanten identifies this every bit a straight intertextual allusion to Achebe'southward Things Fall Apart, which sees the local Commune Commissioner contemplate narrating Okonkwo's life in a chapter of his volume on The Pacification of the Primitive Tribes of the Lower Niger.^[33] VanZanten says that this single chapter recalls the District Commissioner's reductive view of Africa. VanZanten considers this notion subverted in "The Headstrong Historian", in which it is the coloniser's book that has become a single affiliate in Grace's textbook. Decades afterward, Grace becomes a historian herself and publishes a volume called Pacifying with Bullets: A Reclaimed History of Southern Nigeria. Tunca says that Grace, and past extension Adichie, revises a Nigerian history as imagined by Western writers: the indefinite article in A Reclaimed History "suggests that her vision is only 1 among others".^[34] Tunca'due south analysis says that Grace acknowledges what Adichie herself refers to in her 2009 TED talk, "the danger of a single story" in representing the history of an unabridged people.^[35]

In her TED talk, Adichie details how a reader believed that the abusive father in Purple Hibiscus represented all African men: Adichie notes that "The single story creates stereotypes. And the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story get the only story".^[36] The futurity Grace teaches at an Igbo school and delivers seminars on southern Nigerian history after learning nearly a Western-educated Nigerian historian who resigned upon hearing that African history was to exist added to the university syllabus. In after years, Grace returns to Nigeria and changes her proper noun to Afamefuna, the Igbo name that Nwamgba had given her, meaning "My Name Will Not Be Lost". Michael L. Ross says that this revisionary gesture allows Grace to remap and recollect her communal Igbo identity.^[37] Daria Tunca and Bénédicte Ledent say that, equally third generation Igbo historians, both Grace and Adichie supplement Achebe's historical business relationship of Igbo history past highlighting "the danger of a single story" and providing a more authentically recorded womanist perspective of Igbo by.^[38]

Bibliography [ edit ]

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Ryan, Connor, "Defining Diaspora in the Words of Women Writers: A Feminist Reading of Chimamanda Adichie'south "The Affair Around Your Neck" and Dionne Brand'southward "At the Full and Change of the Moon", Callaloo, 37.5 (2014), 1230-1244, JSTOR 24265203
Silva, Meyre Ivone da, "African Feminists Towards the Politics of Empowerment", Revistra de Letras, 44.two (2004), 129–38, JSTOR 27666802
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10 Kortenaar, Neil, "How the Center is Made to Hold in Things Fall Autonomously," Chinua Achebe'due south Things Fall Autonomously: A Casebook, ed. By Isidore Okpewho (New York: Oxford Academy Press, 2003), pp.123-45. ISBN 0195147642
Tunca, Daria, and Bénédicte Ledent, "The Ability of a Singular Story: Narrating Africa and Its Diasporas," Inquiry in African Literatures, 46.iv (2015), ane-9, JSTOR x.2979
Tunca, Daria, "Appropriating Achebe: Chimamanda Ngozi Adichie's Purple Hibiscus and "The Headstrong Historian"", Accommodation and Cultural Appropriation: Literature, Film, and the Arts, ed. by Pascal Nicklas and Oliver Lindner (Berlin: De Gruyter, 2012), pp.230-250. ISBN 3110272059
Tunca, Daria, "Chimamanda Ngozi Adichie as Chinua Achebe's (Unruly) Literary Girl: The By Present, and Future of "Adichebean" Criticism," Inquiry in African Literatures, 49.4 (2018), 107-26, JSTOR 10.2979
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References [ edit ]

^ Jane Shilling (2009-04-02). "The Matter Effectually Your Neck by Chimamanda Ngozi Adichie: Review". The Telegraph . Retrieved 2012-03-24 .
^ Lech Mintowt-Czyz (2012-03-24). "UK News, World News and Stance". The Times. Entertainment.timesonline.co.uk. Retrieved 2012-03-24 .
^ Tunca, Daria (2012). "Appropriating Achebe: Chimamanda Ngozi Adichie'southward Purple Hibiscus and "The Headstrong Historian"". In Pascal Nicklas and Oliver Lindner (ed.). Accommodation and Cultural Appropriation: Literature, Film, and the Arts. Berlin: De Gruyter. pp. 230–250.
^ Tunca, Daria (2018). "Chimamanda Ngozi Adichie as Chinua Achebe's (Unruly) Literary Daughter: The By Present, and Future of "Adichebean" Criticism". Enquiry in African Literatures. 49 (iv): 107–126. doi:10.2979/reseafrilite.49.4.08. S2CID 167003202.
^ VanZanten, Susan (2015). ""The Headstrong Historian": Writing with Things Fall Apart". Research in African Literatures. 46 (2): 85–103. doi:ten.2979/reseafrilite.46.2.85. S2CID 160888170.
^ Ogunyemi, Chikwenye Okonjo (1988). "Women and Nigerian Literature". In Yami Ogunbiyi (ed.). Perspectives on Nigerian Literature: 1700 to the Present. Lagos: Guardian Books Nigeria Express. pp. 60–67.
^ Boehmer, Elleke (2009). "Achebe and His Influence in Some Contemporary African Writing". Interventions. eleven (2): 141–153. doi:10.1080/13698010903052982. S2CID 143409311.
^ Ejikeme, Anene (2017). "The Women of Things Fall Autonomously, Speaking from a Different Perspective: Chimamanda Adichie's Headstrong Storytelling". Meridians. 15 (two): 307-329 (p.309). doi:10.2979/meridians.15.two.02. S2CID 149069836.
^ x Kortenaar, Neil (2003). "How the Center is Fabricated to Hold in Things Fall Apart". In Isidore Okpewho (ed.). Chinua Achebe's Things Autumn Apart: A Casebook. New York: Oxford Academy Printing. pp. 123-145 (p.124).
^ Brooks, Jerome (1994). "Chinua Achebe Interview". The Paris Review . Retrieved 29 January 2021.
^ Ejikeme, Anene (2017). "The Women of Things Fall Autonomously, Speaking from a Dissimilar Perspective: Chimamanda Adichie'south Headstrong Storytelling". Meridians. fifteen (2): 307-329 (p.309). doi:10.2979/meridians.15.2.02. S2CID 149069836.
^ Adichie, Chimamanda Ngozi (2009). "The Danger of a Single Story". TED Talks . Retrieved 29 Jan 2021.
^ Mustich, James (2009). "Chimamanda Ngozi Adichie: A Conversation". Barnes and Noble Review . Retrieved 29 Jan 2021.
^ VanZanten, Susan (2010). "A Conversation with Chimamanda Ngozi Adichie". Image. 65: 86-99 (p. 97).
^ Ejikeme, Anene (2017). "The Women of Things Fall Apart, Speaking from a Different Perspective: Chimamanda Adichie's Headstrong Storytelling". Meridians. 15 (ii): 307-329 (p.311). doi:10.2979/meridians.15.two.02. S2CID 149069836.
^ Doherty, Brian (2014). "Writing Back with a Difference: Chimamanda Ngozi Adichie'due south "The Headstrong Historian" as a Response to Chinua Achebe'south Things Fall Autonomously". In Ogaga Okuyade (ed.). Tradition and Change in Contemporary Westward and East African Fiction. Amsterdam and New York: Rodopi. pp. 187-201 (p. 190).
^ Okonjo, Kamene (1976). "The Dual-Sex Political Arrangement in Operation: Igbo Women and Community Politics in Midwestern Nigeria". In Nancy Hafkin and Edna G. Bay (ed.). Women in Africa: Studies in Social and Economic Change. Stanford: Stanford Academy Press. pp. 45–58.
^ Okonjo, Kamene (1976). "The Dual-Sex Political System in Operation: Igbo Women and Community Politics in Midwestern Nigeria". In Nancy Hafkin and Edna One thousand. Bay (ed.). Women in Africa: Studies in Social and Economic Change. Stanford: Stanford University Press. pp. 45–58.
^ Nzegwu, Nkiru (2006). Family Matters: Feminist Concepts in African Philosophy of Culture. Albany, NY: SUNY Press.
^ Amadiume, Ifi (1987). Male Daughters, Female person Husbands. London: Zed Press.
^ Adichie, Chimamanda Ngozi (2009). "The Headstrong Historian". The New Yorker . Retrieved 29 January 2021.
^ Jeyifo, Biodun (1993). "Okonkwo and His Mother: Things Autumn Apart and Issues of Gender in the Constitution of Postcolonial Discourse". Callaloo. 16 (4): 847–858. doi:ten.2307/2932213. JSTOR 2932213.
^ Van Allen, Judith (1976). ""Aba Riots" or Igbo "Women's War"? Credo, Stratification, and the Invisibility of Women". In Nancy Hafkin and Edna G. Bay (ed.). Women in Africa: Studies in Social and Economic Alter. Stanford: Stanford University Printing.
^ Cobham, Rhonda (1991). "Making Men and History: Achebe and the Politics of Revisionism in Things Autumn Apart". In Bernth Lindfors (ed.). Approaches to Education Achebe'south Things Fall Autonomously . New York: MLA. pp. 91-100 (pp. 96-97).
^ Tunca, Daria (2012). "Appropriating Achebe: Chimamanda Ngozi Adichie's Regal Hibiscus and "The Headstrong Historian"". In Pascal Nicklas and Oliver Lindner (ed.). Adaptation and Cultural Appropriation: Literature, Picture show, and the Arts. Berlin: De Gruyter. pp. 230-250 (p.239).
^ Tunca, Daria (2012). "Appropriating Achebe: Chimamanda Ngozi Adichie'south Purple Hibiscus and "The Headstrong Historian"". In Pascal Nicklas and Oliver Lindner (ed.). Adaptation and Cultural Appropriation: Literature, Motion-picture show, and the Arts. Berlin: De Gruyter. pp. 230-250 (p.240).
^ Tunca, Daria (2012). "Appropriating Achebe: Chimamanda Ngozi Adichie's Purple Hibiscus and "The Headstrong Historian"". In Pascal Nicklas and Oliver Lindner (ed.). Accommodation and Cultural Appropriation: Literature, Film, and the Arts. Berlin: De Gruyter. pp. 230-250 (p.239).
^ Adichie, Chimamanda Ngozi (2010). "Introduction". Chinua Achebe, The African Trilogy: Things Autumn Apart, No Longer at Ease, Arrow of God. New York: Knopf. pp. vii-xvii (p. xi).
^ Adichie, Chimamanda Ngozi (2010). "Introduction". Chinua Achebe, The African Trilogy: Things Fall Apart, No Longer at Ease, Arrow of God. New York: Knopf. pp. vii-xvii (p. xi).
^ Ejikeme, Anene (2017). "The Women of Things Autumn Apart, Speaking from a Dissimilar Perspective: Chimamanda Adichie's Headstrong Storytelling". Meridians. 15 (ii): 307-329 (p.309). doi:ten.2979/meridians.15.2.02. S2CID 149069836.
^ VanZanten, Susan (2015). ""The Headstrong Historian": Writing with Things Fall Apart". Inquiry in African Literatures. 46 (2): 85-103 (p.90). doi:10.2979/reseafrilite.46.2.85. S2CID 160888170.
^ Adichie, Chimamanda Ngozi (2009). "The Headstrong Historian". The New Yorker . Retrieved 29 January 2021.
^ VanZanten, Susan (2015). ""The Headstrong Historian": Writing with Things Fall Apart". Research in African Literatures. 46 (2): 85-103 (p.87). doi:x.2979/reseafrilite.46.2.85. S2CID 160888170.
^ Tunca, Daria (2012). "Appropriating Achebe: Chimamanda Ngozi Adichie's Imperial Hibiscus and "The Headstrong Historian"". In Pascal Nicklas and Oliver Lindner (ed.). Accommodation and Cultural Cribbing: Literature, Movie, and the Arts. Berlin: De Gruyter. pp. 230-250 (p.244).
^ Adichie, Chimamanda Ngozi (2009). "The Danger of a Single Story". TED Talks . Retrieved 29 Jan 2021.
^ Adichie, Chimamanda Ngozi (2009). "The Danger of a Single Story". TED Talks . Retrieved 29 January 2021.
^ Ross, Michael L. (2019). "Ownership of Language: Diglossia in the Fiction of Chimamanda Ngozi Adichie". Research in African Literatures. 50 (one): 111-126 (p. 121). doi:10.2979/reseafrilite.50.one.07. S2CID 197847912.
^ Tunca, Daria and Bénédicte Ledent (2015). "he Ability of a Singular Story: Narrating Africa and Its Diasporas". Inquiry in African Literatures. 46 (4): 1-nine (p. 6). doi:10.2979/reseafrilite.46.4.1. S2CID 163027453.

External links [ edit ]

Reviews [ edit ]

Jane Shilling, "The Thing Around Your Cervix by Chimamanda Ngozi Adichie: Review", Daily Telegraph , 2 April 2009
Review from TimesOnline
Jess Row, "African/American", The New York Times , 27 August 2009
Aminatta Forna, "Endurance tests", The Guardian , xvi May 2009