NEW YORK TIMES BESTSELLER • The highly acclaimed, provocative essay on feminism and sexual politics—from the award-winning author of Americanah In this personal, eloquently-argued essay—adapted from the much-admired TEDx talk of the same name—Chimamanda Ngozi Adichie offers readers a unique definition of feminism for the twenty-first century. Drawing extensively on her own experiences and her deep understanding of the often masked realities of sexual politics, here is one remarkable author’s exploration of what it means to be a woman now—and an of-the-moment rallying cry for why we should all be feminists.

“As timely as it is well-written, this clear-eyed collection is just what I need right now.” —Jacqueline Woodson, author of Brown Girl Dreaming “The intersectional feminist anthology we all need to read” (Bustle), edited by a feminist activist and writer who “calls to mind a young Audre Lorde” (Kirkus) Why do some women struggle to identify as feminists, despite their commitment to gender equality? How do other aspects of our identities – such as race, religion, sexuality, gender identity, and more – impact how we relate to feminism? Why is intersectionality so important? In challenging, incisive, and fearless essays – all of which appear here for the first time – seventeen writers from diverse backgrounds wrestle with these questions, and more. A groundbreaking book that elevates underrepresented voices, Can We All Be Feminists? offers the tools and perspective we need to create a 21st century feminism that is truly for all. Including essays by: Soofiya Andry, Gabrielle Bellot, Caitlin Cruz, Nicole Dennis-Benn, Brit Bennett, Evette Dionne, Aisha Gani, Afua Hirsch, Juliet Jacques, Wei Ming Kam, Mariya Karimjee, Eishar Kaur, Emer O’Toole, Frances Ryan, Zoé Samudzi, Charlotte Shane, and Selina Thompson

With her award-winning debut novel, Purple Hibiscus, Chimamanda Ngozi Adichie was heralded by the Washington Post Book World as the “21st century daughter” of Chinua Achebe. Now, in her masterly, haunting new novel, she recreates a seminal moment in modern African history: Biafra’s impassioned struggle to establish an independent republic in Nigeria during the 1960s. With the effortless grace of a natural storyteller, Adichie weaves together the lives of five characters caught up in the extraordinary tumult of the decade. Fifteen-year-old Ugwu is houseboy to Odenigbo, a university professor who sends him to school, and in whose living room Ugwu hears voices full of revolutionary zeal. Odenigbo’s beautiful mistress, Olanna, a sociology teacher, is running away from her parents’ world of wealth and excess; Kainene, her urbane twin, is taking over their father’s business; and Kainene’s English lover, Richard, forms a bridge between their two worlds. As we follow these intertwined lives through a military coup, the Biafran secession and the subsequent war, Adichie brilliantly evokes the promise, and intimately, the devastating disappointments that marked this time and place. Epic, ambitious and triumphantly realized, Half of a Yellow Sun is a more powerful, dramatic and intensely emotional picture of modern Africa than any we have had before.

NATIONAL BESTSELLER • The award-winning author of We Should All Be Feminists and Americanah gives us this powerful statement about feminism today—written as a letter to a friend. A few years ago, Chimamanda Ngozi Adichie received a letter from a childhood friend, a new mother who wanted to know how to raise her baby girl to be a feminist. Dear Ijeawele is Adichie’s letter of response: fifteen invaluable suggestions—direct, wryly funny, and perceptive—for how to empower a daughter to become a strong, independent woman. Filled with compassionate guidance and advice, it gets right to the heart of sexual politics in the twenty-first century, and starts a new and urgently needed conversation about what it really means to be a woman today. A Skimm Reads Pick ● An NPR Best Book of the Year

These twelve dazzling stories from Chimamanda Ngozi Adichie — the Orange Broadband Prize–winning author of Half of a Yellow Sun — are her most intimate works to date. In these stories Adichie turns her penetrating eye to the ties that bind men and women, parents and children, Nigeria and the United States. In “A Private Experience,” a medical student hides from a violent riot with a poor Muslim woman, and the young mother at the centre of “Imitation” finds her comfortable life in Philadelphia threatened when she learns that her husband has moved his mistress into their Lagos home. Searing and profound, suffused with beauty, sorrow and longing, this collection is a resounding confirmation of Adichie’s prodigious literary powers.

A brilliant, impassioned, unflinching account of the firestorm of #MeToo, how we got there, and where we must now go. In Women, Men, and the Whole Damn Thing, author David Leser presents an essential and incisive investigation, unearthing the roots of misogyny, its inextricable links to the patriarchy, and how history brought us to the #MeToo movement and the wave of incandescent female rage that is sweeping the world. Crucially, he also interrogates his own psyche, privilege, and culpability as he bears witness to the “collective wound of the world” and asks how we can move towards healing and profound and permanent change. This book calls on men (yes, all men) to be accountable for their contribution to the continuing oppression of women by the patriarchal structures that have dominated our culture historically and through to the present. He argues that misogyny and female oppression is the greatest moral issue of our times and we are all responsible for dismantling the structures which cause such oppression. This book is his journey into how to grapple with both the personal and collective aftermath of #MeToo and the new future. Including interviews with Tina Brown, Zainab Salbi, Marlene Schiappa, and Helen Garner, among other globally recognized names, Women, Men, and the Whole Damn Thing is a bold, honest, and self-searching global overview of the cultural moment of misogyny that we exist in and, perhaps, a way to move forward.

From the globally acclaimed, best-selling novelist and author of We Should All Be Feminists, a timely and deeply personal account of the loss of her father: “With raw eloquence, Notes on Grief … captures the bewildering messiness of loss in a society that requires serenity, when you’d rather just scream. Grief is impolite ... Adichie’s words put welcome, authentic voice to this most universal of emotions, which is also one of the most universally avoided” (The Washington Post). Notes on Grief is an exquisite work of meditation, remembrance, and hope, written in the wake of Chimamanda Ngozi Adichie's beloved father’s death in the summer of 2020. As the COVID-19 pandemic raged around the world, and kept Adichie and her family members separated from one another, her father succumbed unexpectedly to complications of kidney failure. Expanding on her original New Yorker piece, Adichie shares how this loss shook her to her core. She writes about being one of the millions of people grieving this year; about the familial and cultural dimensions of grief and also about the loneliness and anger that are unavoidable in it. With signature precision of language, and glittering, devastating detail on the page—and never without touches of rich, honest humor—Adichie weaves together her own experience of her father’s death with threads of his life story, from his remarkable survival during the Biafran war, through a long career as a statistics professor, into the days of the pandemic in which he’d stay connected with his children and grandchildren over video chat from the family home in Abba, Nigeria. In the compact format of We Should All Be Feminists and Dear Ijeawele, Adichie delivers a gem of a book—a book that fundamentally connects us to one another as it probes one of the most universal human experiences. Notes on Grief is a book for this moment—a work readers will treasure and share now more than ever—and yet will prove durable and timeless, an indispensable addition to Adichie's canon.