Flurries of snow fall on the cobbled streets of Whitechapel and an abandoned baby, swaddled in a blanket, is found on a doorstep in Angel Lane . . .Named after the street on which she was found, Angel Winter was blessed to be taken from the harsh streets into a loving home. But fate deals a cruel blow and she’s torn from the only family she has ever known, and thrown onto the cobbles of Covent Garden to fend for herself.With winter closing in, Angel scratches a living selling mistletoe to the City gentlemen who pass through the market, hoping they will take pity on her as she shivers in the snow. The only way she can survive is to make her own luck. She will never sell the one treasure that could feed her for a month, the gold and ruby ring that was hidden in her swaddling – it could hold the key to the secrets of her past . . .

    The novel follows Yejide and Akin, a Nigerian couple who have been married since they met at university. Yejide’s difficulties with becoming pregnant eventually lead Akin to take a second wife, breaking the couple’s agreement to remain monogamous. As Yejide attempts to get pregnant, she must deal with the jealousy and fury she feels at her husband’s choice.Ayobami Adebayo’s debut novel is unforgettable, bursting with color and heart and, as The Guardian describes, “demonstration of female spirit”. The beautiful and nuanced prose invites readers to explore the familiar motif of marital struggles through the lens of a culture that is patriarchal and oppressive. Heartbreak and the expectations of family and community weigh heavily in Adebayo’s narrative, creating a rich and layered story that earned both critical and commercial acclaim.A Brief Look Inside:EVERY GOOD BOOK CONTAINS A WORLD FAR DEEPER than the surface of its pages. The characters and their world come alive, and the characters and its world still live on. Conversation Starters is peppered with questions designed to bring us beneath the surface of the page and invite us into the world that lives on.These questions can be used to...Create Hours of Conversation:• Promote an atmosphere of discussion for groups• Foster a deeper understanding of the book• Assist in the study of the book, either individually or corporately• Explore unseen realms of the book as never seen beforeDisclaimer: This book you are about to enjoy is an independent resource meant to supplement the original book. If you have not yet read the original book, we encourage doing before purchasing this unofficial Conversation Starters.

    You definitely can't do that at home (so don't even try!), but here's some amazing science that you can do!From concocting home-made slime to creating your own volcano, these fun experiments are all easily done, following simple step-by-step instructions and using everyday household objects.Inspired by Roald Dahl's terrific tale, this is the book for budding young scientists everywhere!

    Following him down a rabbit-hole, she emerges into a strange new land, where up is down, black is white, experts are fools and fools are experts...She meets such characters as the Corbynpillar, who sits on a toadstool smoking his hookah and being no help to anyone; Humpty Trumpty, perched on a wall he wants the Mexicans to pay for; the Cheshire Twat, who likes to disappear leaving only his grin, a pint, and the smell of scotch eggs remaining; and the terrifying Queen of Heartlessness, who’ll take off your head if you dare question her plan for Brexit. Will Alice ever be able to find anyone who speaks sense?

    From an exploration of why women were barred from writing and under what conditions they might break free, to the solace derived from haunting London's streets, these essays, and stories present Woolf at her most impassioned, rendering the pursuit of liberty one of life's most poetic adventures. Selected from the books A Room of One's Own, The Waves, and Street Haunting and Other Essays by Virginia Woolf.

    Who are the new poor? And what can we do about it? Today 13 million people are living in poverty in the UK. According to a 2017 report, 1 in 5 children live below the poverty line. The new poor, however, are an even larger group than these official figures suggest. They are more often than not in work, living precariously and betrayed by austerity policies that make affordable good quality housing, good health and secure employment increasingly unimaginable. In The New Poverty investigative journalist Stephen Armstrong travels across Britain to tell the stories of those who are most vulnerable. It is the story of an unreported Britain, abandoned by politicians and betrayed by the retreat of the welfare state. As benefit cuts continue and in-work poverty soars, he asks what long-term impact this will have on post-Brexit Britain and--on the seventy-fifth anniversary of the 1942 Beveridge report--what we can do to stop the destruction of our welfare state.

    We email, text, and post; we craft memos and reports, menus and outdoor signage, birthday cards and sticky notes on the fridge.Get a Grip on Your Grammar is a grammar book for those who hate grammar books, a writing resource filled with quick answers and a playful style—not endless, indecipherable grammar jargon.Get a Grip on Your Grammar is The Elements of Style for the Twitter generation. Designed for student, business, and creative-writing audiences alike, its easily digestible, occasionally witty writing tips will finally teach you: The differences between “lay” and “lie.” The proper usage of “affect” and “effect.” Where to put punctuation around quotation marks. The meaning of “e.g.” versus “i.e.” The perils of overusing the word “suddenly.” That apostrophes should not be thrown about like confetti. And 243 more great tips.Writers owe it to themselves and to everyone who sees their written words to get it right. With Get a Grip on Your Grammar, they finally can (not “may”).

    That's why there is no such thing as "they all lived happily ever after"How do we love? With romance. With work. Through heartbreak. Throughout a lifetime. As a means, but not an end. Love in all its forms has been an abiding theme of Jeanette Winterson’s writing. Here are selections from her books about that impossible, essential force, stories and truths that search for the mythical creature we call Love.Selected from the books of Jeanette WintersonVINTAGE MINIS: GREAT MINDS. BIG IDEAS. LITTLE BOOKS.A series of short books by the world’s greatest writers on the experiences that make us humanFor the full list of books visit vintageminis.co.ukAlso in the Vintage Minis series:Eating by Nigella LawsonJealousy by Marcel ProustBabies by Anne EnrightDesire by Haruki Murakami

    His major works include the long visionary poems 'Prometheus Unbound' and 'Adonais', an elegy on the death of John Keats. His shorter, classic verses include 'To a Skylark', 'Mont Blanc' and 'Ode to the West Wind'. This important new edition collects his best poetry and prose, revealing how his writings weave together the political, personal, visionary and idealistic.This Penguin Classics edition includes a fascinating introduction, notes and other materials by leading Shelley scholars, Jack Donovan and Cian Duffy.

    Snuffing Out the Moon is a dazzling debut novel that is at once a cry for freedom and a call for resistance.Advance Praise for Snuffing Out the Moon ‘Criss-crossing historical periods and populating its multiple narratives with a diverse set of characters, Snuffing Out the Moon is a daringly original novel charting the past and the future of our civilization, and so illuminating the author’s view of our present. A challenging and thought-provoking read’—Shashi Tharoor, author and MP‘This novel stirred strange feelings in me. Its air is bleak and somehow forbidding. It is vast in scope but comparatively compressed in a space that the novelist uses expertly to draw for us the lineages of the past, the present and the future. It leaves us with the chilling vision that evil—greed or the impulse to destroy—is man’s destiny. Masterfully composed, the novel sums up aeons of history and culture with an assurance of narrative power that makes the picture of the past and the present as compelling as his imaginings of the future. Present fears are no less than the horrible imaginings, the novel seems to say. Learned and sagacious, the narrative pleases while it also awes the reader’—Shamsur Rahman Faruqi, author of The Mirror of Beauty‘Osama Siddique’s ambitious historical novel will be of consequence not only to Pakistan but to the Indian subcontinent’—Bapsi Sidhwa, author of Ice-Candy-Man‘Innovative, introspective and evocative, this remarkable debut novel gives poignant expression to an age-old human dilemma and one of the central challenges of our own troubled times: the choice between stultifying social conformity born of ignorance, intellectual laziness and fear, and the liberating agency that comes from doubt, dissent and defiance. Polyphonic in scope and written in the fragmentary and episodic mode, the intriguingly titled Snuffing Out the Moon deftly weaves together half a dozen different narratives informed by the rich sociopolitical, cultural and literary traditions of South Asia’s six millennia- long history. Beginning in 2084 BCE with the Indus Valley Civilization and ending in 2084 CE when the deadly politics of religious radicalism and water wars have drastically recast the face of South Asia, the novel is a gripping read. It dispenses with linear time by criss-crossing the past, present and the future in a disconnected fashion without becoming random and trivial or devoid of inner meaning and connectedness. A welcome addition to South Asia’s burgeoning trove of English-language literature, it will engage and absorb a cross-section of readers with its sparkling wit, lyrical bursts and welter of insights into human frailties and foibles’—Ayesha Jalal, historian and author of Jinnah: The Sole Spokesman

    Wimbourne Books presents the third in a series of rare or out-of-print ghost stories from Victorian authors. With an introduction by author Alastair Gunn, Volume 3 in the series contains stories published anonymously in America and Britain between 1839 and 1896. Most of these tales are here anthologised for the very first time. Readers new to this genre will discover its pleasures; the Victorian quaintness, the sometimes shocking difference in social norms, the almost comical politeness and structured etiquette, the archaic and precise language, but mostly the Victorians’ skill at stoking our fears and trepidations, our insecurities and doubts. Even if you are already an aficionado of the ghostly tale there is much within these pages to interest you. Wait until the dark of the snowy night, lock the doors, shutter the windows, light the fire, sit with your back to the wall and bury yourself in the Victorian macabre. Try not to let the creaking floorboards, the distant howl of a dog, the chill breeze that caresses the candle, the shadows in the far recesses of your room, disturb your concentration. Includes the stories; The Deaf and Dumb Girl (1839) - The Picture Bedroom (1840) - The Haunted Manor-House of Paddington (1848) - Mabel (1849) - The Bright Room of Cranmore (1850) - Fisher’s Ghost (1853) - The Ghost at Heatherbell Abbey (1862) - The Tale of a Gas-light Ghost (1867) - Pichon & Sons, of the Croix Rousse (1868) - Haunted (1868) - The Ghost at Laburnum Villa (1870) - The Sergeant’s Ghost Story (1873) - The Bryansfort Spectre (1874) - Twelve O’clock, Noon (1877) - The Story of Clifford House (1878) - The Ghost in the Bank of England (1879) - The Carved Mantelpiece of Granton Hall (1882) - The Invisible Hand (1884) - The Old Lady in Black (1894) - Seen By the Coppice (1896).

    Wimbourne Books presents the fifth in a series of rare or out-of-print ghost stories from Victorian authors. With an introduction by author Alastair Gunn, Volume 5 in the series spans the years 1872 to 1901 and includes stories from a wide range of male authors; British, French and American. Includes tales by Henry James, Arthur Conan Doyle and Rudyard Kipling. Readers new to this genre will discover its pleasures; the Victorian quaintness, the sometimes shocking difference in social norms, the almost comical politeness and structured etiquette, the archaic and precise language, but mostly the Victorians’ skill at stoking our fears and trepidations, our insecurities and doubts. Even if you are already an aficionado of the ghostly tale there is much within these pages to interest you. Wait until the dark of the stormy night arrives, lock the doors, shutter the windows, light the fire, sit with your back to the wall and bury yourself in the Victorian macabre. Try not to let the creaking floorboards, the distant howl of a dog, the chill breeze that caresses the candle, the shadows in the far recesses of your room, disturb your concentration. Includes the stories; No Living Voice (1872) – Thomas Street Millington; Lady Kitty (1876) – Walter Besant & James Rice; The Ghostly Rental (1876) – Henry James; The Transferred Ghost (1882) – Frank Richard Stockton; Apparition (1883) – Guy de Maupassant; Selecting a Ghost (1883) – Arthur Conan Doyle; No. 11 Welham Square (1885) – Edward Masey; The House of Strange Stories (1886) – Andrew Lang; By Word of Mouth (1887) – Rudyard Kipling; A Set of Chessmen (1890) – Richard Marsh; The Haunted Mill (1891) – Jerome K. Jerome; The Haunted Station (1892) – Hume Nisbet; Pallinghurst Barrow (1892) – Grant Allen; The Man Who Was Not on the Passenger List (1892) – Robert Barr; The Saving of a Soul (1893) – Sir Richard Francis Burton; No 252. Rue M. le Prince (1895) – Ralph Adams Cram; Colonel Halifax’s Ghost Story (1897) – Sabine Baring-Gould; The Haunted Burglar (1897) – William Chambers Morrow; How Love Came to Professor Guildea (1900) – Robert Hichens; The Case of Vincent Pyrwhit (1901) – Barry Pain.

    I can't bear not to be there alongside Mark as my children grow up. My bright, funny, affectionate boys who are never embarrassed to say, "love you mummy", and say it ten times a day.' Renowned as a much-loved and highly respected BBC journalist, Victoria Derbyshire has spent 20 years finding the human story behind the headlines. In 2015 she found herself at the heart of the news, with a devastating breast cancer diagnosis. With honesty and openness, she decided to live out her treatment and recovery in the spotlight in a series of video diaries that encouraged thousands to seek diagnosis and help. Victoria has kept a diary since she was nine years old and in DEAR CANCER, LOVE VICTORIA she shares her day to day experiences of life following her diagnosis and coming to terms with a future that wasn't planned. From the moment she woke up to find her right breast had collapsed, to telling her partner and children, through to mastectomy and chemotherapy. From wearing a wig to work and hiding it from her colleagues, to the relief and joy of finishing treatment before immediately flying to Glasgow to present a debate on the European Referendum. By sharing her story, she became the person that mums, daughters, sisters, husbands, boyfriends and family members contacted to thank as they tried to find ways to cope with their own and their loved ones' prognosis, and needed to know that they were not alone. Victoria's story is an affecting and at times heart-breaking one but it is so often laugh-out-loud too. Moving, wonderfully heartwarming and ultimately uplifting, this is a powerful account of a brave struggle told with honesty, courage and emotion that gives strength to anyone touched by cancer.

    Wimbourne Books presents the sixth in a series of rare or out-of-print ghost stories from Victorian authors. With an introduction by author Alastair Gunn, Volume 6 in the series spans the years 1854 to 1901 and includes stories from a wide range of female authors, from both sides of the Atlantic. Includes tales by Ellen Wood, Mary Elizabeth Braddon and Margaret Oliphant. Readers new to this genre will discover its pleasures; the Victorian quaintness, the sometimes shocking difference in social norms, the almost comical politeness and structured etiquette, the archaic and precise language, but mostly the Victorians’ skill at stoking our fears and trepidations, our insecurities and doubts. Even if you are already an aficionado of the ghostly tale there is much within these pages to interest you. Wait until the dark of the stormy night arrives, lock the doors, shutter the windows, light the fire, sit with your back to the wall and bury yourself in the Victorian macabre. Try not to let the creaking floorboards, the distant howl of a dog, the chill breeze that caresses the candle, the shadows in the far recesses of your room, disturb your concentration. Includes the stories; The Sixth Poor Traveller (1854) – Eliza Lynn Linton; The Italian’s Story (1859) – Catherine Crowe; Bring Me a Light! (1861) – Jane Margaret Hooper; The Eleventh of March (1863) – Amelia B. Edwards; The Haunted Grange (1864) – Frances Browne; The Ghost At The Rath (1866) – Rosa Mulholland; The Truth, the Whole Truth, and Nothing but the Truth (1868) – Rhoda Broughton; Reality, or Delusion? (1868) – Ellen Wood; Lady Farquar’s Old Lady (1873) – Mary Louisa Molesworth; The Pride of the Corbyns (1875) – Isabella Banks; At Ravenholme Junction (1876) – Mary E. Penn; The Shadow In the Corner (1879) – Mary Elizabeth Braddon; The Open Door (1882) – Margaret Oliphant; The Invisible Tenants of Rushmere (1883) – Florence Marryat; The Last of Squire Ennismore (1888) – Charlotte Riddell; Let Loose (1890) – Mary Cholmondeley; The Prior’s Cell: A Ghost Story (1892) – Darley Dale; The Shadow On the Blind (1894) – Louisa Baldwin; The Tyburn Ghost (1896) – Wilhelmina FitzClarence; The Summoning of Arnold (1901) – Alice Perrin.

    Wimbourne Books presents the fourth in a series of rare or out-of-print ghost stories from Victorian authors. With an introduction by author Alastair Gunn, Volume 4 in the series spans the years 1835 to 1869 and includes stories from a wide range of male authors; English, Irish, Scottish and American. Includes tales by Charles Dickens, Nathaniel Hawthorne and Washington Irving. Readers new to this genre will discover its pleasures; the Victorian quaintness, the sometimes shocking difference in social norms, the almost comical politeness and structured etiquette, the archaic and precise language, but mostly the Victorians’ skill at stoking our fears and trepidations, our insecurities and doubts. Even if you are already an aficionado of the ghostly tale there is much within these pages to interest you. Wait until the dark of the stormy night arrives, lock the doors, shutter the windows, light the fire, sit with your back to the wall and bury yourself in the Victorian macabre. Try not to let the creaking floorboards, the distant howl of a dog, the chill breeze that caresses the candle, the shadows in the far recesses of your room, disturb your concentration. Includes the stories; The Gray Champion (1835) – Nathaniel Hawthorne; The Fortunes of Sir Robert Ardagh (1838) – Joseph Sheridan Le Fanu; Guests from Gibbet-Island (1839) – Washington Irving; Ghost Gossips at Blakesley House (1841) – William Mudford; The Grimsby Ghost (1842) – Thomas Hood; The Miniature (1844) – John Yonge Akerman; The Legend of the Weeping Chamber (1851) – Bayle St. John; The Ghost of Pit Pond (1854) – Dudley Costello; The Pot of Tulips (1855) – Fitz-James O’Brien; The Ghost in the Bride’s Chamber (1857) – Charles Dickens; The Yellow Gown (1858) – George John Whyte-Melville; The Ghost’s Forfeits (1858) – James Hain Friswell; The Haunted and the Haunters (1859) – Edward Bulwer-Lytton; Experiences of Farthing Lodge (1864) – Thomas Wilkinson Speight; The Painted Room at Blackston Manor (1864) – John Berwick Harwood; The Spectral Coach of Blackadon (1865) – Thomas Quiller Couch; The Botathen Ghost (1867) – Robert Stephen Hawker; The Ghosts at the Grange (1867) – George Manville Fenn; The Shadow of a Shade (1869) – Tom Hood; Uncle Cornelius, His Story (1869) – George MacDonald.

    Other universes. And sometimes, they slip into our own. When Veronica “Roni” Rider discovers this, she also learns that there are three people tasked with saving our universe — her grandmother and two seventy-year-old friends. But it’s hard to defend your world with a bad back and arthritis. Tossed into a new reality that she never expected, Roni must decide if she will step up and join the team or forever leave behind all she has learned and all she cares about. Oh, and she’ll have to save the universe, too.

    Banned until the popular uprisings of 2010-11 and the overthrow of Ben Ali’s dictatorship, Ennahda has until now been impossible to investigate. This is the first in-depth account of the movement, one of Tunisia’s most influential political actors.Based on more than four years of field research, over 400 interviews, and access to private archives, Anne Wolf masterfully unveils the evolution of Ennahda’s ideological and strategic orientations within changing political contexts and, at times, conflicting ambitions amongst its leading cadres. She also explores the challenges to Ennahda’s quest for power from both secularists and Salafis. As the first full history of Ennahda, this book is a major contribution to the literature on Tunisia, Islamist movements, and political Islam in the Arab world. It will be indispensable reading for anyone seeking to understand the forces driving a key player in the country most hopeful of pursuing a democratic trajectory in the wake of the Arab Spring.

    The soldiers of the Simulant Operations Programme are mankind's elite warriors. Veterans of a thousand battles across a hundred worlds, they undertake suicidal missions to protect humanity from the insidious Krell Empire and the mysterious machine race known as the Shard. Lieutenant Keira Jenkins is an experienced simulant operative and leader of the Jackals, a team of raw recruits keen to taste battle. They soon get their chance when the Black Spiral terrorist network seizes control of a space station.Yet no amount of training could have prepared the Jackals for the deadly conspiracy they soon find themselves drawn into - a conspiracy that is set to spark a furious new war across the galaxy. For more from Jamie Sawyer, check out:The Lazarus War: ArtefactThe Lazarus War: LegionThe Lazarus War: Origins

    Or almost never. When it does stop raining from the sky, it rains from hearts instead. Indoors as well as outdoors, the people huddle in the endless drenchings, and over time they have evolved into aquatic creatures who only look and behave like men and women but aren’t really. There is a clue in the name of the country. Wales is a nation with no spot of dry land within its borders. Wales is an Atlantis that never stayed under but is just as wet. Crammed with mythical beings and happenings, Cloud Farming in Wales palpitates, germinates and extrapolates, but never evaporates, and the sodden heroes that wade and slosh through the mighty puddles of its pages are generally in search of a canoe.

    The pieces probably date from 1786 or 1787, around the time that Jane, aged 11 or 12, and her older sister and collaborator Cassandra left school. By this point Austen was already an indiscriminate and precocious reader, devouring pulp fiction and classic literature alike; what she read, she soon began to imitate and parody.Unlike many teenage writings then and now, these are not secret or agonized confessions entrusted to a private journal and for the writer's eyes alone. Rather, they are stories to be shared and admired by a named audience of family and friends. Devices and themes which appear subtly in Austen's later fiction run riot openly and exuberantly across the teenage page. Drunkenness, brawling, sexual misbehavior, theft, and even murder prevail. It is as if Lydia Bennett is the narrator.

    --Ray Connolly, pop culture writer and journalist who published over 50 interviews with the BeatlesThe best Beatles book for some time --British Beatles Fan Club MagazineLeslie Cavendish wasn't just the Beatles' hairdresser, he was one of the few Londoners/Cockneys at the core of the Apple empire. How many people can say they had a seat on the Magical Mystery Tour bus, were inside the Apple building while the Fab Four played on the roof, and drove Paul McCartney across London in a Mini Cooper? --Claudia Elliott

    The book singles out thirteen innovativewriters for a detailed chapter on each, beginning with those who became Pakistanis after Partition (such as Shahid Suhrawardy and Ahmed Ali) but who had published major works prior to Independence. Due acknowledgement is also given to the two forgotten writers of that era: Atiya and Samuel FyzeeRahamin. Pioneering contemporary authors, from Zulfikar Ghose and Taufiq Rafat to Bapsi Sidhwa, Sara Suleri, and Hanif Kureishi are discussed in detail.The book encompasses poetry, fiction, drama, and life-writing. It includes and unites a wide range of English language writers in Pakistan with those living in the diaspora. Poets Alamgir Hashmi, Imtiaz Dharker, and Moniza Alvi; novelists Kamila Shamsie, Mohsin Hamid, and Uzma Aslam Khan; shortstory writers Aamer Hussein, Daniyal Mueenuddin, and Jamil Ahmed; playwrights Sayeed Ahmad, Rukhsana Ahmed, and Ayub Khan-Din are all discussed here. These are underpinned by an extensive discussion on essays, letter writing, and memoirs, including the letters of Faiz Ahmed Faiz and Aly Faiz; essaysof Anwer Mooraj, Moni Mohsin, and Eqbal Ahmed; travelogues of Salman Rashid; and memoirs of Firoz Khan Noon, Tehmina Durrani, Kamran Nazeer, and others. The book also brings new perspectives and critical writings on the diverse socio-political reasons for the emergence of a Pakistani nationalliterature in English.

    Wimbourne Books presents the seventh in a series of rare or out-of-print ghost stories from Victorian authors. With an introduction by author Alastair Gunn, Volume 7 in the series spans the years 1857 to 1901, contains ghost stories set at or around Christmas, and includes stories from a wide range of authors including Sabine Baring-Gould, Charlotte Riddell and Florence Marryat. Readers new to this genre will discover its pleasures; the Victorian quaintness, the sometimes shocking difference in social norms, the almost comical politeness and structured etiquette, the archaic and precise language, but mostly the Victorians’ skill at stoking our fears and trepidations, our insecurities and doubts. Even if you are already an aficionado of the ghostly tale there is much within these pages to interest you. Wait until the dark of the snowy night (preferably on Christmas Eve), lock the doors, shutter the windows, light the fire, sit with your back to the wall and bury yourself in the Victorian macabre. Try not to let the creaking floorboards, the distant howl of a dog, the chill breeze that caresses the candle, the shadows in the far recesses of your room, disturb your concentration. Includes the stories; The Wedding-Ring (1857) – Miles Gerald Keon; All Alone on Christmas Day (1858) – James Hain Friswell; The Ghost in the Clock Room (1859) – Hesba Stretton; The Ghost in the Double Room (1859) – George Augustus Sala; The Spectre’s Visit (1859) – Anne Sarah Bushby; Glámr (1863) – Sabine Baring-Gould; The Ghost Detective (1865) – Mark Lemon; Hertford O’Donnell’s Warning (1867) – Charlotte Riddell; The Brown Lady (1869) – Frances Cashel Hoey; The Phantom Flash (1870) – William Wilthew Fenn; Christmas Eve at a Cornish Manor-House (1878) – Clara Venn; The Ghost of Charlotte Cray (1879) – Florence Marryat; The Curse of the Catafalques (1884) – F. Anstey; Number Ninety (1886) – Bithia Mary Croker; A Mysterious Portrait (1888) – Mark Rutherford; The Spectre of Barrochan (1889) – J. E. P. Muddock; The Old Portrait (1890) – Hume Nisbet; Old Applejoy's Ghost (1897) – Frank Richard Stockton; Jerry Bundler (1897) – W. W. Jacobs; Bills, M.D (1901) – John Kendrick Bangs.

    With Half of a Yellow Sun (2007) and The Thing Around Your Neck - Short Stories (2009), she established herself as a preeminent story-teller. Americanah (2013), with ingenious craftsmanship addresses the sensitive themes of passionate love, independence, freedom and moral responsibility with extravagant and versatile narrative innovations. Through her writings, she has made herself relevant to people of all ages - across racial and linguistic boundaries. Her talks, blogs, musings on social media, essays and commentaries, workshop-mentoring for budding young writers, lecture circuit discourses, all enrich her imaginative creativity as they expand and define her mission as a writer. "We Should All be Feminists" she proclaimed in an essay, giving feminism a "tweak and twist" and suggesting new outlooks in literary theory. Her contributions to African, Diasporic and World literatures deserve serious analyses, commentaries and interpretations, and this Companion to her work critically examines her creative outputs from her art and ideology, from feminism to war, to matters of myth and perception, and the challenges of multicultural existence and complex human identities. Ernest N. Emenyonu is Professor of Africana Studies at the University of Michigan-Flint, USA.