The narrative proposal of Chimamanda Ngozi Adichie (Nigeria, 1977) stands out for moving away from the clichés about what contemporary African literature should be and avoiding what has been called pornography of poverty, a label the author has always treated with irony. Chimamanda Ngozi's protagonists are strong, independent, and well-positioned women who assert their right to be women in a chaotic world. And they have hopes, dreams, memories, and contradictions. This is the case with the four protagonists of her latest novel, The dream counter, a volume of almost 600 pages written over a decade—during which she has worked on memoirs, children's literature, feminist manifestos, and a public lecture on freedom of expression—and translated into Catalan by Anna Puente.

Between the publication ofAmericanah and The dream counter Twelve years have passed, during which Chimamanda Ngozi Adichie (Enugu, 1977) has become, in addition to a well-known writer, a world reference for feminism since the TEDx conference Everyone should be a feminist (2014). It has been so at least until the month of March when, coinciding with the appearance of the new novel, translated into Catalan by Anna Puente and published in Fanbooks, the writer declared to The Irish Times who had opted for surrogacy of twins in her second pregnancy, something she has spoken about on subsequent occasions: "Although it is a personal issue, I have spoken about it so that mothers who have not followed traditional paths feel less stigmatized," she declared in May to Premium Times from Nigeria, the country where she grew up until, at the age of 19, she left for the United States to study at Drexel University in Philadelphia.