"ভীষণ ভয়ে�� কোনো গল্প শুনত�� যাচ্ছি ভেবে ঘর-টর সেইরকম অন্ধকা�� কর�� প্রস্তুত�� নিয়�� বসলাম। কিন্তু ভূত‌ই ছি�� না... এইজন্য অনেকটা হতাশ��

কিন্তু গল্প, গল্প হিসেবে ভালো�� প্রিয় মানুষক�� না পাওয়া�� যন্ত্রণা, খুঁজ�� বেড়ানোর যন্ত্রণাগুলো কষ্টদায়�� ছিল।"

"Longlisted for Women's Prize for Fiction 2025 - This is, unfortunately, Chimamanda's weakest novel—perhaps because it isn’t actually a novel. It consists of four stories about four different women that vary in quality and tone, yet are never convincingly connected into a cohesive narrative, despite an event designed to do so.

That event, inspired by the Dominique Strauss-Kahn incident, completely shifts the book’s tone and highlights why the author remains controversial across the political spectrum. Being political is not inherently bad, but one must be careful not to let their voice turn into mere noise—as happens here with Omelogor, who comes across as that one person who criticizes everything and everyone.

I understand Chimamanda’s desire to comment on the scandal, but I don’t think fiction is the right medium for it. The imagined "good" ending that Dream Count presents essentially assumes that the victim wouldn’t want her story to be brought back into the public eye. As a radical feminist, Chimamanda also seems to overlook that some stories aren’t hers to tell."