After abandoning his beloved Mariam when she falls pregnant, and escaping her brothers' bullets, Ibrahim abandons his own ideals and dreams of becoming a novelist, opting instead to follow his father's wishes and seek wealth and commercial success abroad. Thirty years later, lonely and disillusioned, Ibrahim returns to Ramallah to retrace the past he tried to leave behind. He sets out on a long and frustrating quest to track down Mariam, which takes him from the West Bank to Israel. Along the way he encounters his son, Michael, a young man with spiritual powers that enable him to see what is unknown and find what has gone missing. Moving and lyrical, Khalifeh's novel weaves religious and political symbolism into a story of love and loss. At its core is Ibrahim's--the Palestinian's--agonizing but unrelenting search for a home.

    The book is a prelude to the Rwandan genocide and unfolds behind the closed doors of the school, in the interminable rainy season. Friendships, desires, hatred, political fights, incitation to racial violence, persecutions... The school soon becomes a fascinating existential microcosm of the true 1970s Rwanda.

    This is the story of how things fell apart.’The years between 1983 and 1993 were momentous for Nigeria. Military rule was a time of increased violence, rampant corruption, coups, coup plotting and coup baiting. It moulded the conditions and character of Nigeria today, forcing seismic changes on the political, economic and religious landscape that nearly tore the country apart on several occasions.Soldiers of Fortune is a fast-paced and thrilling narrative of the major events of the Buhari and Babangida era. The book draws on previously uncovered observations from interviews conducted with insiders (including a former member of the Brigade of Guards and Nigerian Airways personnel who witnessed the attempted kidnap of Umaru Dikko), to compile step-by-step dramatic reconstructions of disputed events and intrigues. Siollun’s fresh perspective challenges preconceived views to reveal the true story behind controversies of the period: the annulment of the June 12 election, the dubious execution of Mamman Vatsa, the foiled kidnapping of Umaru Dikko, the Orkar coup and the inconclusive case of the assassination of Dele Giwa.Historian Max Siollun gives an intimate, fly-on-the-wall portrait of the major events and dramatis personae of the period. He paints a vivid picture of leaders such as Ibrahim Babangida, whose ‘amiable personality, effusive charm and warm bonhomie’ distracted from his determined grip on power, political cunning and retention of detested laws. Siollun also relates anecdotes from how ‘pillow talk’ had a role in the 1983 coup, to the troubled final hours of the condemned Mamman Vatsa, childhood friend of Babangida. We are reminded of the important role played by civilians in supporting and sponsoring successive coups, and as such, we are forced to reassess apparent heroes such as the business tycoon, M.K.O Abiola.Alongside its close-up, dramatised narrative, Soldiers of Fortune also provides clear and detailed analysis of the period, revealing Nigerians’ complicity in the corruption of everyday life. It makes use of charts, lists and neatly delineated sections to pick apart the complex and often murky details of military rule, effectively demonstrating how the key events and protagonists of the period had a long-lasting impact which still resonates throughout Nigeria today.Both gripping and informative, Soldiers of Fortune is a must-read for all Nigerians and Nigeria-watchers. Its dramatic narrative style and clear attention to detail will engage casual, journalistic and academic readers alike.

    Indifferent to their fate, the other passengers carry on as usual — trading in nickel melted down fro the carriage doors, attending the Upper Bunk avant-garde theatre, and leafing through Pasternak’s Early Trains. Pelevin's art lies in the ease with which he shifts from precisely imagined science fiction to lyrical meditations on past and future. And, because he is a natural storyteller with a wonderfully absurd imagination. The Yellow Arrow is full of the ridiculous and the sublime. It is a reflective story, chilling and gripping.

    She senses her biological clock ticking away and wants children while he doesn't. Not because he doesn't like children but because he feels a child would be just one responsibility too many.Nick's problem is his parents. He's devoted to them of course, but sometimes even he finds his patience wearing a little thin which in turn brings on the guilt. But they are rather a handful. They're conservative, highly eccentric and increasingly infirm. His Mum's so enormously overweight that her heart's now a bit dicky and she is certainly no longer up to looking after Dad by herself. He's got Parkinson's Disease - not the shaking kind, as Mum's always reminding people - but he's unable to do even the simplest task himself and needs constant care and attention.Nick knows the time has come to take the matter in hand but things need to be handled carefully. And so he and Laura take them to Malta for what they hope will be a happy final family holiday. Nick thinks his only problem is going to be avoiding Laura's amorous advances but this particular island turns out to be a sun-kissed cupboard with more than its fair share of skeletons...Tackling a taboo subject with sensitivity, understanding, great affection and good humour, What We Did On Our Holiday is a remarkably uplifting, moving and reassuring novel about a time in our lives when it seems roles are reversed and we find ourselves looking after the very people we'd always assumed would be there to look after us.

    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

    A biting satire about the downfall of a businessman-polygamist who assumes the role of the colonialist in French-speaking Africa.

    They have only one desire: to make a fortune by exploiting the mineral wealths of the country. They work during the day in mining concession and, as soon as night falls, they go out to get drunk, dance, eat and abandon themselves in Tram 83, the only night-club of the city, the den of all the outlaws: ex children-soldiers, prostitutes, blank students, unmarried mothers, sorcerers' apprentices …Lucien, a professional writer, fleeing the exactions and the censorship, finds refuge in the city thanks to Requiem, a youth friend. Requiem lives mainly on theft and on swindle while Lucien only thinks of writing and living honestly. Around them gravitate gangsters and young girls, retired or runaway men, profit-seeking tourists and federal agents of a non-existent State.Tram 83 plunges the reader into the atmosphere of a gold rush as cynical as, sometimes, comic and colorfully exotic. It's an observation of human relationships in a world that has become a global village. It could be described as an African-rap or rhapsody novel or puzzle-novel hammered by rhythms of jazz.

    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.

    Elvis Oke, a teenage Elvis impersonator spurred on by the triumphs of heroes in the American movies and books he devours, pursues his chosen vocation with ardent single-mindedness. He suffers through hours of practice set to the tinny tunes emanating from the radio in the filthy shack he shares with his alcoholic father, his stepmother and his stepsiblings. He applies thick makeup that turns his black skin white, to make his performances more convincing for American tourists and hopefully net him dollars. But still he finds himself constantly broke. Beset by hopelessness and daunted by the squalor and violence of his daily life, he must finally abandon his dream.With job prospects few and far between. Elvis is tempted to a life of crime by the easy money his friend Redemption tells him is to be had in Lago's underworld. But the King of the Beggars, Elvis's enigmatic yet faithful adviser, intercedes. And so, torn by the frustration of unrealizable dreams and accompanied by an eclectic chorus of voices, Elvis must find a way to a Graceland of his own making.Graceland is the story of a son and his father, and an examination of postcolonial Nigeria, where the trappings of American culture reign supreme.

    The narrator, Steve Geddes, is a writer doing a book on collectors, especially those with "unlikely, bizarre, or exceptionally useless collections." His research leads him to the Havergals, a wealthy, eccentric couple. They "collect people"; that is, she does the "collecting" while he watches-"a bout of troilism," as Geddes calls it. By accident, Geddes learns that reclusive "cult author" Thornton McCain may have written a book that Geddes hasn't heard of. Geddes the observer becomes both obsessed collector and, for the randy Havergals, object to be collected. An insightful delight from start to finish; recommended for all fiction collections.

    Inside it he discovers the past — his own family’s history and the story of the Asian experience in East Africa. Its relics and artefacts bring with them the lives of Salim’s Indian great-grandfather, Dhanji Govindji, his extensive family, and all their loves and betrayals.Dhanji Govindji arrives in Matamu — from Zanzibar, Porbander, and ultimately Junapur — and has a son with an African slave named Bibi Taratibu. Later, growing in prosperity, he marries Fatima, the woman who will bear his other children. But when his half-African son Husein disappears, Dhanji Govindji pays out his fortune in trying to find him again. As the tentacles of the First World War reach into Africa, with the local German colonists fighting British invaders, he spends more and more time searching. One morning he is suddenly murdered: he had spent not just his own money but embezzled that of others to finance the quest for his lost son.“Well, listen, son of Juma, you listen to me and I shall give you your father Juma and his father Husein and his father…” Part II of the novel is named for Kulsum, who marries Juma, Husein’s son; she is the mother of the narrator, Salim. We learn of Juma’s childhood as a second-class member of his stepmother’s family after his mother, Moti, dies. After his wedding to Kulsum there is a long wait in the unloving bosom of his stepfamily for their first child, Begum. It is the 1950s, and whispers are beginning of the Mau Mau rebellion.Among the stories tumbling from the gunny sack comes the tailor Edward bin Hadith’s story of the naming of Dar es Salaam, the city Kulsum moves to with her children after her husband’s death. And gradually her son takes over the telling, recalling his own childhood. His life guides the narrative from here on. He remembers his mother’s store and neighbours’ intrigues, the beauty of his pristine English teacher at primary school, cricket matches, and attempts to commune with the ghost of his father. It is a vibrantly described, deeply felt childhood. The nation, meanwhile, is racked by political tensions on its road to independence, which comes about as Salim Juma reaches adolescence. With the surge in racial tension and nationalist rioting, several members of his close-knit community leave the country for England, America, and Canada.I see this comedy now as an attempt to foil the workings of fate: how else to explain, what else to call, the irrevocable relentless chain of events that unfolded…The title of Part III, Amina, is the name of Salim’s great unfulfilled love, and will also be the name of his daughter. He meets the first Amina while doing his National Service at Camp Uhuru, a place he feels he has been sent to in error. Amina is African, and their relationship inevitably causes his family anxiety, until the increasingly militant Amina leaves for New York. Salim becomes a teacher at his old school, and marries, but keeps a place for Amina in his heart. When she returns and is arrested by the more and more repressive government, Salim is hurriedly exiled abroad. He leaves his wife and daughter with the promise that he will send for them, knowing that he will not. The novel ends with Salim alone, the last memories coming out of the gunny sack, hoping that he will be his family’s last runaway.

    

    A play set in the ancient Ashanti Kingdom about a woman who desires to see her daughter become ruler of the Empire and has her disguised as a boy from birth - a secret she strives to hide.

    It provides complete coverage of the new A- and AS-level core specifications being taught from September 2000 onwards and presents concepts in separate, easily accessible double-page spreads. Each spread starts with learning objectives and ends with questions, to check understanding, making the book particularly suitable for self-study.