He’s a man of the African bush, and coping with ‘girlie feelings’ was always Helene’s department, not his. When an orphaned baby elephant is found, Rodger sees an opportunity that might help him reconnect with his children. But interfering with the orphan goes against his usual conservation methods. It will require a new approach to save both the baby and his family.

    'Let me buy you a cup of tea... what are you doing in England?' 'Do these children of yours speak any Luganda?' 'Did you know that man Idi Amin?' But perhaps the most difficult question of all is the one they ask themselves: 'You mean this is England?' Told with empathy, humour and compassion, these vibrant, kaleidoscopic stories re-imagine the journey of Ugandans who choose to make England their home. Weaving between Manchester and Kampala, this dazzling, polyphonic collection will captivate anyone who has ever wondered what it means to truly belong.

    And nothing would stop her. Not the fact that she’d be the youngest one in the history of the company. Or the fact that she’d be the first female Director. And especially not a man.Then she met Tyler, and everything changed. It was like they were destined to be together. The attraction was immediate, and the follow-through was more passionate and amazing than she could have ever hoped for.But Tyler was gone now. She could barely bring herself to think about their brief time together. As she stared at her wedding dress, she reflected on the fact that almost everything would be in place: a perfect gown, a perfect venue, a perfect ceremony. But not her perfect groom.15% of profits donated to Tuesdayschildren.org to help kids affected by 9/11 and other acts of terrorism.

    Focusing on the epic love affair between a former amateur musician—who happens to be a bootlegger, mercenary, and killer—and a shebeen queen, this South African love story traces the couple's lives and loves through the interweaving of history and memory in the tradition of village storytellers.

    A little boy witnesses the ugliness of apartheid.

    Seraki joins the cast of a locally produced musical that exposes the plight of black South Africans. When the play travels to the U.S., Seraki discovers that even in America, the land of opportunity, he cannot escape corruption. An ALA Best Book for Young Adults.

    In the love story and intrigue that follow, the author's exploration of racism draws upon her own experiences of growing up in South Africa.

    On the cusp of seventy-five, she is in good health and makes the most of it, enjoying road trips in her vintage Porsche, chatting to strangers, and recollecting characters from her favourite novels. Then she has a fall and her independence crumbles. Without the support of family, she relies on friends and chance encounters. As Morayo recounts her story, moving seamlessly between past and present, we meet Dawud, a charming Palestinian shopkeeper, Sage, a feisty, homeless Grateful Dead devotee, and Antonio, the poet whom Morayo desired more than her ambassador husband. A subtle story about ageing, friendship and loss, this is also a nuanced study of the erotic yearnings of an older woman. “Dr. Morayo Da Silva is one of the most memorable characters you are likely to encounter on the page – intelligent, indomitable, author and survivor of a large life. In dreamlike prose, Manyika dips in and out of her present, her past, in a story that argues always for generosity, for connection, for a vigorous and joyful endurance." - Karen Joy Fowler, author of We Are All Completely Beside Ourselves“Manyika's story about an elderly Nigerian woman is quiet, sophisticated and it expands the canon of contemporary African literature into welcome new territory.” - Bernardine Evaristo, author of Mr Loverman“If aging be a lamp, then Morayo, the protagonist in Like a Mule Bringing Ice Cream to the Sun is a mesmerizing glow. Astute, sensual, funny, and moving.” - NoViolet Bulawayo, author of We Need New Names “A wonderfully constructed novel, always surprising and wrong-footing the reader at every turn and challenging one's assumptions about the Other. Like a Mule Bringing Ice Cream to the Sun is a delightful multi-helical reading experience that speaks to our times in insightful and pleasantly understated ways." - Brian Chikwava, author of Harare North

    He has gone on to become one of the most powerful voices for cultural freedom on the whole of the African continent today. Ndebele evokes township life with humor and subtlety, rejecting the image of black South Africans as victims and focusing on the complexity and fierce energy of their lives. "Our literature," says Ndebele, "ought to seek to move away from an easy preoccupation with demonstrating the obvious existence of oppression. It exists. The task is to explore how and why people can survive under such harsh conditions." About Njabulo Ndebele: now Chancellor of Witwatersrand University in South Africa. Ndebele began publishing these stories from exile in Lesotho during the 1980s. Ndebele is now recognised as a major voice in South Africa's cultural life. This is his only fiction collection available in Europe or North America. Ndebele's stories first began appearing in Staffrider magazine, an innovative publishing venture linked to the Soweto branch of South African PEN. Founded after the bloody Soweto riots of the mid-1970s, the magazine took as its symbol the staffriders, un-ticketed commuters from the black townships who every day clung onto or balanced on top of buses and trains to get into the cities to work. Staffrider magazine, and in particular Ndebele's stories, helped define a new tone in black South African literature that went beyond and finally overcame apartheid.

    He’s a smart, interesting, quirky jazz musician...albeit with a wife suffering from depression, and a rebellious teenaged daughter. They find his contentedness more and more irritating. And yet This just can’t help it—life makes him happy. And the mounting tension that results is beautifully set off by Schertenleib’s lyrical prose, the smoky setting of Amsterdam, and the dialogue that’ s as edgy as that of a noir movie. And thus a book that seems at first a writerly experiment becomes a gradually intensifying tale of a simple bit of human hope holding on against great odds, to an inspiring and shocking ending.The Contemporary Art of the Novella series is designed to highlight work by major authors from around the world. In most instances, as with Imre Kertész, it showcases work never before published; in others, books are reprised that should never have gone out of print. It is intended that the series feature many well-known authors and some exciting new discoveries. And as with the original series, The Art of the Novella, each book is a beautifully packaged and inexpensive volume meant to celebrate the form and its practitioners.

    Maja was five years old when her black Cuban family emigrated from the Caribbean to London. Now, almost twenty years later, Maja is a singer, in love with Aaron, pregnant, and haunted by what she calls “her Cuba.” Growing up in London, she has struggled to negotiate her history and the sense that speaking Spanish or English made her less of a black girl. But she is unable to find herself in the Ewe, Igbo, or Akum of her roots. It seems all that’s left is silence. Meanwhile distance from Cuba has only deepened Maja’s mother faith in Santeria —the fusion of Catholicism and Western African Yoruba religion—but it also divides the family as her father rails against his wife’s superstitions and the lost dreams of the Castro revolution.On the other side of the reality wall, Yemaya Saramagua, a Santeria emissary, lives in a somewherehouse with two doors: one opening to London, the other to Lagos. Yemaya is troubled by the ease with which her fellow emissaries have disguised themselves behind the personas of saints and by her inability to recognize them. Lyrical and intensely moving, The Opposite House is about the disquiet that follows us across places and languages, a feeling passed down from mother and father to son and daughter.

    Petina Gappah’s characters may have ordinary hopes and dreams, but they are living in a world where a loaf of bread costs half a million dollars, where wives can’t trust even their husbands for fear of AIDS, and where people know exactly what will be printed in the one and only daily newspaper because the news is always, always good.In her spirited debut collection, the Zimbabwean writer Petina Gappah brings us the resilience and inventiveness of the people who struggle to live under Robert Mugabe’s regime. She takes us across the city of Harare, from the townships beset by power cuts to the manicured lawns of privilege and corruption, where wealthy husbands keep their first wives in the “big houses” while their unofficial second wives wait in the “small houses,” hoping for a promotion.Despite their circumstances, the characters in An Elegy for Easterly are more than victims—they are all too human, with as much capacity to inflict pain as to endure it. They struggle with the larger issues common to all people everywhere: failed promises, unfulfilled dreams, and the yearning for something to anchor them to life.At the sound of the last post --An elegy for Easterly --The annex shuffle --Something nice from London --In the heart of the Golden Triangle --The Mupandawana dancing champion --Our man in Geneva wins a million euros --The maid from Lalapanzi --Aunt Juliana's Indian --The cracked, pink lips of Rosie's bridegroom --My cousin-sister Rambanai --The negotiated settlement --Midnight at the Hotel California

    Presenting a diverse and dazzling collection from all over the continent - from Morocco to Zimbabwe, Uganda to Kenya - Habila has focused on younger, newer writers, contrasted with some of their older, more established peers, to give a fascinating picture of a new and more liberated Africa.Disdaining the narrowly nationalist and political preoccupations of previous generations, these writers are characterized by their engagement with the wider world and the opportunities offered by the internet, the end of apartheid, the end of civil wars and dictatorships, and the possibilities of free movement around the world. Many of them live outside Africa. Their work is inspired by travel and exile. They are liberated, global and expansive. As Dambudzo Marechera wrote: 'If you're a writer for a specific nation or specific race, then f*** you." These are the stories of a new Africa, punchy, self-confident and defiant.Includes stories by:Rachida el-Charni; Henrietta Rose-Innes; George Makana Clark; Ivan Vladislavic; Mansoura Ez-Eldin; Fatou Diome; Aminatta Forna; Manuel Rui; Patrice Nganang; Leila Aboulela; Zoe Wicomb; Alaa Al Aswany; Doreen Baingana; E.C. Osondu

    It celebrates a unifying heritage and illustrates an uplifting sense of sisterhood and the strong links that endure from generation to generation as well as the common obstacles that female writers of colour continue to face as they negotiate issues of race, gender and class.A glorious portrayal of the richness, magnitude and range of the singular and combined accomplishments of these women, New Daughters of Africa also testifies to a wealth of genres: autobiography, memoirs, oral history, letters, diaries, short stories, novels, poetry, drama, humour, politics, journalism, essays and speeches.It showcases key figures and popular contemporaries, as well as overlooked historical authors and today’s new and emerging writers. Amongst the 200 contributors are: Chimamanda Ngozi Adichie, Patience Agbabi, Sefi Atta, Ayesha Harruna Attah, Malorie Blackman, Tanella Boni, Diana Evans, Bernardine Evaristo, Aminatta Forna, Danielle Legros Georges, Bonnie Greer, Andrea Levy, Imbolo Mbue, Yewande Omotoso, Nawal El Saadawi, Taiye Selasi, Warsan Shire, Zadie Smith and Andrea Stuart.A unique and seminal anthology, New Daughters of Africa represents the global sweep, diversity and extraordinary literary achievements of Black women writers whose voices, despite on going discussions, remain under-represented and underrated.

    L. Carr's deeply charged poetic novel, Tom Birkin, a veteran of the Great War and a broken marriage, arrives in the remote Yorkshire village of Oxgodby where he is to restore a recently discovered medieval mural in the local church. Living in the bell tower, surrounded by the resplendent countryside of high summer, and laboring each day to uncover an anonymous painter's depiction of the apocalypse, Birkin finds that he himself has been restored to a new, and hopeful, attachment to life. But summer ends, and with the work done, Birkin must leave. Now, long after, as he reflects on the passage of time and the power of art, he finds in his memories some consolation for all that has been lost.