Women press into their narratives as speakers, decision-makers, brokers of opinion and market prices, and unofficial jurors in their communities. SW 96. While analysing the novels of Nwapa, Boehmer asserts the presence of matri-centric family units before the precolonial period. Contemporary African literatures try to rejuvenate the authority of women as equal to the ladder of men, who practiced their dominance after the impact of colonialism. Relatively strong characters like Nefissa in El Saadawi’s work, Nwapa’s Efuru are representatives of their boldness in exhibiting patriotic fervour. The notable women like Olanna, Kainene, and Miss Adebayo, Mrs. Muokelu gather the power of resistance against the oppressions of colonialism. They refuse to be victims of male dominance either by their fathers or by their husbands or other men. The process of their ‘self-making’ further prompts them to provide their active participation for the cause of their nation. Boehmer argues that women embraced the tactics from men who were involved in nationalist politics. She says, “Women encounter the strong need to resist the compounded oppressions of colonialism, gender, race, class, sexuality, etc., and find at the same time that tactics of self-representation are often usually adopted from the more established and yet compromising nationalist politics of their male counterparts.” (90 SW). It is indeed true that women came out of their sphere through the support of spirited men, during the fight for independence. Adichie’s novel expounds the awakening of ardent women voicing out for the nation and for themselves. The characters always possess a spirit of patriotism in them, and the strength of unity sustain their everlasting healthy relationships. It is notable that Olanna loves Odenigbo at first sight attracted by his bold action against the staff of the airport, who favoured a white man to come first though he stood behind a long queue. She shouts Quote though she has never raised her voice in public before. Though Kainene has dated many white boyfriends during her college days in London, she finds Richard special, for he himself likes to be identified as one among the Nigerians, rather than his own country Britain. His growing interest in the culture of Nigerians, especially the roped pot art makes him to search the abundance of cultural heritage of Nigeria. Author “In contemporary Nigeria, Igbo anxieties about sexuality, gender and marriage are connected to the larger uncertainties that Igbos feel about their identity and their place in Nigeria. These uncertainties are both linked to the legacy of Biafra and expressed in collective memories of the war.” (32-igbo marriage Biafra). It can be said that the everlasting bond of these two pairs is formed out of a nationalist thought, rather than sheer conjugal relationship. Olanna society repudiating -social criticism 221- “my father and his politician friends steal money with their contracts, but nobody makes them kneel to beg for forgiveness. And they build houses with their stolen money and rent them out to people like this man and charge inflated rents that make it impossible to buy food.”. Olanna and Kainene are conscious of their father’s ways and unafraid to criticize them. Their education and involvement in business affairs help them to know the disguise of most corrupted royal selfish men who are ready to pull the innocent people down to face the inflation they make. Kainene accuses the dominant hierarchal community that suppress egalitarianism: the iniquitously expensive and secretive British secondary school my sister and I attended…he was determined that we be as European as possible… It is so exclusive, many Nigerians don’t even know it exists.” (61) Olanna and Kainene show their courage throughout the novel asserting their individuality in their motives and choices. Though Olanna seems to oscillate for making crucial decisions, she is able to move further inspired by the bold twin sister Keinene. Though Kainene is perceived as a “withdrawn child” by Olanna, Kainene is far better than Olanna in taking firm decisions in her life; her job, her lover and her future. Olanna’s transformation from a humble, inoffensive, modest woman to a bolder, self-confident, and determined woman marks her place in position three. In Half of a Yellow Sun Adichie seems to tribute the women who became the ray of aspiration to the people who suffer the trauma of Biafra War by acknowledging remarkable female characters. The individual as well as the collective attitude of the characters alludes to the readers the reinforcement of one’s moral strength to look forward and welcome a hopeful future. Not only Olanna and Kainene give voice against the corrupted society, but also the other minor women characters express brazen remarks on the rapidly degrading cultural values. Ms. Adebayo is one such brave woman who explicitly makes counter remarks and criticisms over the postcolonial impact on their country. The female characters reflect the collective strength to fight back the devastating conditions that threaten their survival. It is true when the author expounds that “At various times, Nigerian women have acted as a group against destructive socio-political systems, either in defense of community interest, or when the interests of women as a social group” mobilising Nigerian women elite 10. Olanna and Kainene possess the inward strength for positive revelations to come out of the fated victim attitude. Their positive anger provides the energy for productive actions.