







































AJELLS: Awka Journal of English Language and Literary Studies, Vol. 8 No. 2, 2021 
 
 

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THE DISREPUTABLE FATE OF THE HEROINE IN THE NIGERIAN FICTION: 

THE PERSPECTIVES OF AKACHI ADIMORA- EZEIGBO IN TRAFFICKED AND 

BUCHI EMECHETA IN THE JOYS OF MOTHERHOOD 

 

Andrew Ibeawuchi Nwagbara 

Department of English Language and Literature, 

Nnamdi Azikiwe University Awka, Nigeria 

ai.nwagbara@unizik.edu.ng 

 

Abstract 

Of concern is the manner in which many writers of fiction in Nigeria have found it attractive 

subjecting the female protagonists to untold psychological and emotional tortures in their 

various creative narratives while it’s true that the pervading mood in Nigeria has been that of 

crass poverty and hopelessness which cut across genders, the woman or girl-child has been 

singled out for special attention. This intellectual exercise looks at the traumatic experiences 

of female protagonists in Akachi Adimora- Ezeigbo’s Trafficked and Buchi Emecheta’s The 

Joys of Motherhood. The choice of these two female writers is deliberate. The two writers 

represent two different generations of Nigerian female writers. While Emecheta discusses the 

plight of the female folks during the colonial era in Nigeria, Adimora-Ezeigbo focuses attention 

on female trafficking which is a current issue in the public domain. In the consideration of the 

effective application of the trauma theory, Emecheta has been exemplary in subjecting the 

female protagonist of her novel to series of agonizing tortures that culminate in her death. 

Adimora-Ezeigbo has however been benevolent; the central character of her creative work has 

several moments to celebrate and in the end her story ends on a good page. 

Keywords: fate, heroine, feminism, female protagonist 

 

Introduction 

It is of note that the female writers of fiction in Nigeria have contributed positively towards the 

growth of the genre. These writers using various themes have helped expand the frontiers of 

discuss in the genre. From gender related issues to deep rooted socio-political agenda, these 

feminine writers have narrowed the gap that hitherto existed between them and their male 

counterparts in literary outputs. Despite the diverse concerns that the female novelists have 

shown on different issues of interest to Nigerian literate audience, it is however of note that 

they have focused more attention on matters of interest to the plight of the Nigerian woman or 

girl child. They have subsumed the feminine theme in their treatments of broad topics like the 

civil war in Nigeria, corruption that pervades the Nigerian landscape or even the class struggles 

that exist in some Nigerian societies. Female fiction writers like: Akachi Adimora-Ezeigbo, 

Chimamanda Ngozi Adichie, Flora Nwapa and Buchi Emecheta for instance, have discussed 

the different shades of psychological assaults that the female protagonists have endured in 

different Nigerian societies. 

Perhaps, it is true that the female central character in Nigerian fiction is prone to tragic ends. 

Afam Ezeaku while quoting Alkali confirm that “tradition Africa was not a haven for African 

woman….She had and still has her life spiked with harmful traditional and social practices 

strong enough to denigrate sexual exploitation, arranged marriages, seclusion, infanticide, 

female circumcision and starvation” (18). In the ancient time, women were cast in the shape of 

evil. Charles Korie’s opinion lends credence to this when he observes that “from Greek 

mythology, the odds are against women” (72). He further observes that the images of women 

in these mythologies are cast in “low, inferior, wicked and demonic posture” (72). To Nawal 

El-Saadawi the female character in the view of the Arabs is “a capricious vamp, a playful and 

beautiful slave, a she-devil imbued with a cunning and capable of a thousand artifices, an 
 



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explosive danger versed in all the arts of deceit and conspiracy.” (521). These views seem to 

have shaped the psyche of some Nigerian writers who have clothed the female characters in 

tragic garbs. Akachi Adimora-Ezeigbo and Buchi Emecheta have found this portrait attractive 

in Trafficked and The Joys of Motherhood respectively. 

 

The central characters in these novels are archetypes of the doomed fate of the female 

characters in Nigerian fiction. They are however courageous, determined and resolute to turn 

their adversaries into triumphs. These are some of the qualities of heroines. A heroine in 

medieval history is the “legendary woman having the qualities of a hero” (wikipedia.com). 

Similarly, the Doris Lechner sees the heroine as a woman of distinguished courage or ability, 

admired for her brave deeds and noble qualities”. Nnu Ego and Nneoma in The Joys of 

Motherhood and Trafficked respectively remain amazons who display exceptional courage 

even in the midst of extremely difficult situations to record worthy achievements. Despite their 

noble intentions and rugged determinations to succeed, they are like beings acting scripts 

written for them by unforeseen forces. This in common par lace is referred to as fate. Fate is “a 

power that supposedly predetermines events” according to Doris Lechner. If this assertion is 

considered sacrosanct, the female protagonists in these novels have their choices made for them 

by forces beyond their controls.  

 

In the treatment of the female protagonist’s experiences by most Nigerian writers, the female 

central character has suffered tremendous bruises in physical and more importantly psychic 

dynamic. It is this trauma of the female central character that will be the focus of this research 

paper. Even though it is not extremely necessary to anchor every literary criticism on a literary 

theory, this literary discuss will draw huge inference from the trauma literary theory as 

published by Cathy Caruth in Unclaimed Experience, Trauma, Narrative and History. Caruth 

while doing a critique of Sigmund Feud’s Beyond the Pleasure Principle cites Feud who paints 

a picture of human suffering as being ‘inexplicably persistent in the lives of certain 

individuals”(Caruth, 14). Feud finds it difficult to comprehend the reason that catastrophic 

events keep repeating themselves in the lives of individuals who have experienced them before. 

Difficult to understand is that these tragic experiences are not initiated by the individuals own 

acts but are “a serious of painful events to which they are subjected and which seem to be 

entirely outside their wishes or control” (15). Therefore, the lives of the female central 

characters in Trafficked and The Joys of Motherhood are examined in the light of the above 

postulations of Caruth’s as encapsulated in the classical text Unclaimed Experience, Trauma, 

Narrative and History. This research discusses the various traumatic narratives, the central 

characters have been subjected by the two female novelists and the manners they are able to 

navigate through these various tragic upheavals. Dalley in the use of this trauma theory has 

done a critique of a Nigerian war friction Song for Night by Chris Abani where he “evaluates 

the use of trauma as a paradigm for interpreting Nigeria civil war literature”. He draws the 

conclusion that in this child-soldier narrative Abani explores the novel’s “formal qualities, 

temporal disjunction, repetition and communicative ambivalence” 

 

A Comparative Inquest into the Disreputable Fate of the Heroine in Trafficked and The 

Joys Of Motherhood 

Buchi Emecheta in The Joys of Motherhood in a free flowing narrative describes the 

experiences of a female protagonist whose life oscillates from one tragic moment to another. 

Nnu Ego the female tragic protagonist from the beginning is captured as a character who finds 

herself in a state of helplessness, confused and frustrated. With the effective use of flash back, 

Emecheta without any pretense, puts the reader in an eager mood to know how the tragedy of 

her life will unfold. Amazingly, the mood of anxiety created at this point by the writer is 

 



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sustained till the end of the story. The reader is eager to know the next tragic encounter the 

central character will be involved in.  

 

The novel Trafficked by Akachi Adimora – Ezeigbo has engaged the attention of various shades 

of intellectuals since it was published in 2008. This is essentially due to the fact that the issue 

of female trafficking has remained topical in Nigeria and Africa. The problems associated with 

illegal migration from Africa to Europe have been discussed at various global assemblies. The 

politics of illegal migration is not the interest of this academic endeavour, but the traumatized 

experiences of the central character in this fiction and matters arising from them. Mathias Nder, 

in his discussion of Trafficked, looks at the experiences of the Nigerian ladies who are involved 

in international trafficking and prostitution. Through the use of characterization, he identifies 

two major character classifications in the novel. These are the oppressed and the exploiters. To 

him, the oppressed represent the “exploited and victims of sex trade”. The exploiters and 

oppressors on the other hand are the “collaborators and perpetrators of the international sex 

trafficking and prostitution.” Nder in his research also considers Adimora- Ezeigbo use of the 

various settings like: London, Italy and Lagos to expose the “dastardly nature of the trade.” For 

him, this migration pattern has devastating effects on the trafficked girls. The tilt of this 

research is in examining the reason for women oppression and discrimination in our society 

and (how) this encourages the liberation of all women. 

 

Emecheta in situating her novel during the colonial period informs the reading audience that 

the travails of the female folk did not start recently. The protagonist is made to inherit a female 

‘chi’, a reincarnated slave girl who inflicts tremendous punishment on Nnu Ego in this fictional 

narrative. The story of this slave girl is a recast of one of the most primitive cultures of the 

Africans where an innocent girl must be buried alive with her dead mistress. This culture of 

savage impunity is present in this novel with the central character being the beneficiary of a 

hideous crime committed by her forbearers with a fate of prolonged psychological agony and 

physical torture in the entire novel. 

 

From conception, Nnu Ego’s story is shrouded in mystery. As a product of a illicit love affair 

between her mother Ona and Agbadi Nwokocha, her fate is tainted from birth. Her mother is 

expected to give birth to a boy who will take charge of the homestead of his maternal 

grandfather, Obi Umunna This woman who is fortunate to have a male child. Rather than give 

birth to a male child. “This child is the slave woman. Who died with (the) senior wife (of) 

Agunwa” (Emecheta, 25). On a gives birth to Nnu Ego who inherits the ‘chi’ of a slave woman. 

This woman out of spite and anger had promised Agbadi that she would come back to his 

household, but as a daughter. The anger stems from the fact that she is buried alive with her 

late mistress so as to continue being her slave in the grave. The slave woman in the African 

cosmic realization reincarnates as Nnu Ego with all the anger and bitterness inflicted on her by 

the culture of the native Ibuza community. The link that exists between the living and the dead 

becomes manifest from the beginning of the prose fiction. In the cause of the novel, the writer 

constantly draws a parallel between Nnu Ego and the slave woman. At every critical moment 

in her life, the spirit of the slave woman decides the scope of her suffering. The spiritual 

relevance of the dibia cannot be divorced from the cosmology of the natives in this fictional 

story. It is the dibia who at the birth of Nnu Ego spiritually diagnoses the need to appease the 

spirit of the slave woman to help mitigate the sufferings of the central character. “The slave 

woman was properly buried in a separate grave, and an image of her was made for Nnu Ego to 

carry with her” (26). Without this spiritual atonement, the spirit of the dead slave woman would 

have fomented Nnu Ego ad infinitum. This spiritual atonement and other sacrifices therein, 

help soften the revenge mission of the dead salve woman. Subsequently, the protagonist 

 



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benefits from these sacrificial interventions and records some flashes of good fortunes in the 

novel. She gives birth to several children after the fatality of her first marriage. Also, despite a 

prolonged suffering session, her sons excel in academics and become pathfinders in Ibuza 

town. 

 

Adimora –Ezeigbo in her novel begins with a profound prologue that lays an enduring 

foundation for the narrative: “Chronic poverty, violence against women and girls, lack of 

decent work opportunities, coupled with restrictive migration  and immigration policy have all 

played their roles in creating multinational trafficking industries – Louisa Waugh.” (Adimora 

–Ezeigbo,iv). In the above quotation, Louisa Waugh holds an opinion that shares the same 

sentiments that have sustained the multinational female trafficking industry that include: 

chronic poverty, violence against women and girls, lack of decent work opportunities and 

obnoxious immigration policies.   Also, the novelist in lifting a passage from the Holy Bible 

lays a moral and ecclesiastic framework that makes covetousness a prima facie crime which 

leads to greed. The Holy Bible says “Take heed, and beware of covetousness, for a man’s life 

consisted not in the abundance of the things which he possesseth” With this and the earlier 

quotation, Adimora – Ezeigbo sets the narrative on a free flow somersault of intrigues and 

emotional torture of the female protagonist, Nneoma. She subsequently skillfully lays bare the 

horrendous and laborious life the central character’s family goes through in the theatre of 

financial poverty. 

 

As a little girl in Ihitte-Agu, she knows the colour of poverty “on the highway of life “(7). This 

experience this makes her journey in search of greener pasture abroad very necessary. The 

question the reading audience will ask is, why must she be the child to take up the fight to pull 

the family out of economic morass? She is not a man. But, Mother Nature has assigned a special 

role to her from birth. In the African cosmology, she is the reincarnated mother of her father 

Ogukwe Eke. She shares a similarity with Nnu Ego in The Joys of Motherhood as a product of 

a reincarnation process. In the case of Nneoma, in tandem with the African culture, no mother 

allows her children suffer from deprivation. Therefore, it is not out of place that she carries the 

burden of ensuring that her family comes out of crass poverty. Her marriage to Ofomata is her 

first attempt at finding a solution to one of the major problems bedeviling her family; that of a 

piece of land to build a house. 

 

For Nnu Ego also, her good fortune begins with her marriage to Nnaife, a man of poor physical 

appearance who works with a colonial officer as a domestic servant in Lagos. Her first marriage 

to Amatokun earlier was childless. Ngozi her first son to Nnaife dies not long after conception. 

Devastated though, she however remains undaunted. Her sadness does not endure for long 

before she gives birth to Oshia. In all, she gives birth to nine children with seven surviving. Of 

these, she has three sons; Oshia, Adim and Nnamdio. These male children represent her world 

because in the traditional Nigerian society, the woman who has no sons is deemed to have no 

children. Worse still “a woman without a child for her husband was a failed woman”(65). 

 

As typical of the Nigerian woman, Nnu Ego dreams of her sons being more successful than 

their father. As expected of a good wife, she supports her husband in the upbringing of the sons 

believing that the daughters need little education because they are bound to end up in the 

kitchen. In her quest to offer her sons the best that her family’s limited resources can offer, this 

indomitable Amazon never ascribes “profundity to the ordinary” (137). Despite the discomfort 

of sharing her husband with another woman in a polygamous environment, this home grown 

daughter of Ibuza is satisfied occupying the enviable position of a senior wife and the mother 

of her husband’s first son. She believes that “a happy senior wife makes a happy home”(138). 



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This role has its burden because she is a prisoner “imprisoned by her love for her children, 

imprisoned in her role as the senior wife “(153). Society however expects her as the mother of 

three sons “to be happy in her poverty, in her nail- biting agony, in her churning stomach, in 

her rags.” (187). As an individual who has foresight, the education of her sons is a worthy 

investment because in the future “only pen and not mouth could really talk” (201). 

 

On the other hand, Nneoma’s travails in Trafficked stem from poverty and cultural inhibitions. 

She and Ofomata are childhood lovers whose marriage is stage managed between Mazi 

Ogukwe Eke and his friend, Mbonu Ezenwa, fathers of the duo.  This marriage apart from 

permanently cementing the bond of friendship between the two men, will help Ogukwe solve 

a pressing need, that of securing a piece of land to build a house. For a piece of land from his 

prospective in-law is part of the marriage rites. But this union between the two lovers 

experiences a hiccup from inception. It is the cultural title of ‘ozo-nkwu’ that becomes a 

hindrance. Quintessential Ezeigbo introduces this to exacerbate the conflict in the novel and 

make the heroine Nneoma walk a tight rope of financial emancipation Ofomata is to inherit the 

mystical title of ‘ozo-nkwu’ from his father at his demise. Nneoma does not want to be the wife 

of a man of such appellation. The inability of the love birds to resolve this conflict leads 

Nneoma in making the choice to seek for greener pasture abroad. In search of a new lease of 

life, she desires for a teaching employment overseas. As a trained teacher desirous of a honest 

employment in Europe, she falls prey to a syndicate who offers her a fake teaching 

employment. To make her and her co-travellers believe the offers are real, the traffickers “show 

us pictures of the schools where we’ll be teaching and give us appointment letters signed by 

people with English names.”(127). 

 

The triumphant catastrophic experience of a heroine largely depends on the influence of the 

men she associates with. Adimora-Ezeigbo  does not fail to highlight the point that the 

achievements of Nnu Ego cannot be divorced from the positive relationships she enjoys with 

some men in her life. Her late father, Agbadi, Nwokocha remains a pillar of support in the early 

gloomy period of her traumatic life. After her failed marriage to Amatokwu, it’s her father 

Nwokocha Agbadi who helps restore her emotionally stable. To appease her supposedly 

tormenting ‘chi’, “he told her through the rising smoke of the slaughtered animals that he had 

stopped dealing in slaves and had offered freedom to the ones in his household”  (34). For those 

slaves who have refused to go back to their villages are adopted as his children. All these 

concessions are made “for Nnu Ego” (35). Her second husband Nnaife Owulum helps her 

restore her motherhood after her first disastrous marriage. Even with Nnaife, misfortune 

continues to trail her. Her first son Ngozi dies mysteriously. In her quest to commit suicide 

over this calamity, the society agrees “that a woman without a child for her husband was a 

failed woman” (65). The subsequent son she bears for Nnaife helps her establish a permanent 

foothold in the Owulum family and also become the icing on the married cake. For “her love 

and duty to these sons were like her chains of slavery” (209). Even in her death, she gives them 

her soul because” they will worship my dead spirit to provide for them” (210). The culmination 

of her agony is expressed in her copious lamentation that:- 

I am a prisoner of my own flesh and blood. Is it such an enviable 

position? The men make it look as if we must aspire for children 

or die. That’s why when I lost my first son I wanted to die 

because I failed to live up to the standard expected of me 

by the males in my life, my father and my husband – and 

now I have to include my sons. But who made the law that 

we should not hope in our daughters? We women subscribe 

to that law  more than anyone. Until we charge all this, 

 



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it is still a man’s world, which women will always help 

to build. (210). 

 

Nneoma the heroine’s encounter with the men slightly differs from that of Nnu Ego. The 

similarity between the duo is the unalloyed love they enjoy from their fathers. Their subsequent 

heinous encounters with the male characters though similar in varying degrees, differ in 

traumatic contents. Despite being the mother of three brilliant sons and many daughters, Naife 

abandons Nnu Ego to marry a second wife. Nneoma’s experiences in her various encounters 

with the male protagonists while abroad, highlight the unending injustices and exploitations 

that the female folks go through in the hands of men in the larger Nigerian society. In Italy, 

Nneoma realizes that she has been caught in the web of female traffickers. Here she becomes 

the ‘property’ of a vicious woman called Madam Dollar who engages her in prostitution to 

enable her pay the debt of bringing her to Italy. After three years of hellish living, she is sold 

to another kingpin of the cartel called Baron living in London who keeps her in a flat where 

“she (is) a sex object for every male” (59). Out of sheer luck and ingenuity, she escapes. While 

weeping outside the Russell Square rail station, Dr. Chido Okehi, a Nigerian scholar on leave 

of absence in London helps her into another phase of her metamorphosis of sexual trauma. 

While taking temporary shelter in the home of fellow Nigerians preparatory to her coming back 

to Nigeria, she continues to be sexually assaulted by Dimgba and Dotun her benefactor. 

 

These heroic female protagonists however have not allowed their tortuous experiences dample 

their desires to excel. Nnu Ego throws every strength of her being in the upbringing of her sons 

who become shining examples in the Ibuza community. Nneoma’s desire to acquire a tertiary 

education is not dampened by her odious experiences as a trafficked girl. Despite all odds, she 

gains and admission to study for a degree in a university in Lagos. It is very paramount to note 

that the two female novelists slightly vary with their pillages of painful activities of the two 

tragic heroines. Nnu Ego maintains a stoic personality in The Joys of Motherhood   because 

she remains consistently courageous and optimism even in the face of obvious psychological 

torture in the hands of the society and her husband, Nnaife. Throughout the entire gamut of the 

narrative, her sufferings remain unabated even when naturally she should be celebrated for her 

achievements that include her tenacity of purpose. Emecheta in her fulfillment of the tenets of 

the trauma theory keeps pilling up all manners of torture on the protagonist which culminate in 

her death by the road side. “She died quietly … with no child to hold her hand and no friend to 

talk to her” (253). To make a mockery of her agonies; Emecheta titles the novel The Joys of 

Motherhood. Adimora – Ezeigbo however differ from Emecheta’s treatment of the female 

protagonist in her novel. Adimora – Ezeigbo in Trafficked offers Nneoma the opportunity of 

rehabilitation and reintegration into the society at Oasis Youth Centre, Lagos. She rather than 

overload Nneoma with a baggage of tragedies, expands “the threshold of (her) fulfillment” 

(235) by making her triumph at the matriculation examination to study Business Education at 

Lagos University of Science and Technology. In the midst of this achievement however, her 

ugly past as a trafficked girl resurfaces in her encounter with Chief Amadi. To him, a trafficked 

girl is not deserving of the friendship of his son Kelvin. Despite this emotional setback, she 

looks forward to realizing the dream of every traditional Nigerian woman; the dream of having 

a loving husband and a pleasurable family life. She however doubts the possibility of finding 

a man who would marry her with her filthy past. In her introspection, she wonders if she can 

find “a man she could love again – and one that would accept her as she was” (2006). However, 

the writer provides her a soft landing pad. Through Dr. Chido Okehi, she reconnects with her 

childhood heartthrob, Ofomata.  The novelist admirably fails to bring the fictional narrative to 

an end with the female protagonist’s entire life cycle being full of sad tales. Nneoma in the end 



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is rewarded with a university education and the prospect of marrying a childhood lover, 

Ofomata. 

 

Conclusion 

In conclusion, the novelists have done well in their narratives while applying the tenets of the 

trauma theory. Emecheta in her exercise excels better than Adimora-Ezeigbo. Nnu Ego in 

Emecheta’s story is physically and emotionally traumatized from the beginning to the end. She 

in line with the Freudian concept of persistent traumatization of certain individuals’ subjects 

the protagonist of The Joys of Motherhood to an overwhelming psychological torture. The 

reader at a point feels that the load of grief is too heavy for one individual to bear. Having two 

brilliant sons living abroad is enough to make her live a life of happiness in her old age. It is 

ironic that a woman who should be celebrated in the entire Ibuza community becomes an 

individual of ridicule. Emecheta in this novel leaves an evergreen tragic impression on the 

psyche of the reading audience.  

 

Adimora-Ezeigbo’s attempt differs slightly. Nneoma receives doses of good fortunes in the 

midst of her sad tale. While Emecheta’s narrative leaves a prolonged agonized impression on 

the psyche of the reading audience, Adimora –Ezeigbo’s novel continually reminds the reader 

the pitiable sojourn the youths of Nigeria nay Africa go through in search of greener pastures 

across the Mediterranean Sea. Today, many youths and parents have failed to learn lessons 

from tales similar to that of Nneoma that are captured in works of fiction, television movies 

and real life narrations of victims. Adimora -Ezeigbo in this story discusses an issue that has 

brought pain and agony in many families in Nigeria. The loss of lives at sea and the 

dehumanizing slave experiences these individuals like Nneoma go through in Europe are worse 

than slave trade of centuries ago. Good governance at all levels in Nigeria will create 

employments for the youths who will not see perilous journeys abroad as necessities.  

 

These two female writers have handled the dilemma of their two female protagonists based on 

the cultural background they grew up in. The era they lived in has also affected their treatments 

of the common theme of female emasculation in the society. While Adimora-Ezeigbo has 

addressed a contemporary issue in the African continent, Emecheta’s concern has been the 

plight of the female gender during the colonial period. Therefore, it follows that the agony of 

the woman or girl-child has persisted for ages. 

 

 

Works Cited 

Adimora-Ezeigbo, Akachi.Trafficked. Lagos: Literamed Publication (Nig) Ltd, 2018 

Caruth, Cathy. Unclaimed Experience, Trauma, Narrative and History.John Hopkins 

University Press, Baltimore Maryland: 1996. 

Dalley, Hamish. “Trauma Theory and Nigeria Civil War Literature: Speaking  

Something That Was Never in Words in Chris Abani’sSongs for Night”.Journal of 

Postcolonial Writing.Vol 49, Issue 4, 2013. 

El-Saadawi, Nawal. “The Heroine in Arab Literature”, in African Literature, An  

Anthology of Criticism and Theory, -TejumolaOlaniyan and 

AtoQuanyson(ed).Cornwal, Blackwell Publishing Ltd, 2007. 

Emecheta, Buchi. The Joys of Motherhood.London: Pearson Education Ltd, 2008 

Ezeaku, Afamefuna. “Feminist Positionality: An Overview of Nigeria Literary  

Scene”, in Awka Journal of English Language and Literary Studies, No 1, Vol 5, 2014. 

Lechner, Doris (ed). The New Webster’s Dictionary of the English Language. New  

York: Lexicon Publication Inc, 2004. 

 



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Lloyd, David. “Colonial Trauma / Postcolonial Recovery” in International Journal  

of Postcolonial Studies. Vol 2, Issue 2, 2000. 

Korie, Charles.C. “The Fate of a Woman in African Fiction: A Mythical Interpretation of 

 Ezeigbo’s Trilogy” in Journal of English Language Studies in Africa, No 2, VolI, 2012. 

Nder, Mathias. “The Experience of Nigeria Ladies in the International Sex- 

Trafficking and Prostitution: A Reading ofAkachiAdimora-Ezeigbo’sTrafficked” in 

Journal of Humanities and Social Science (10SR-JHSS) Vol 13, Issue 5 (July-August 

2013). 

 

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