The endless rain leaves them with little to do but watch the other residents.A woman goes running up the Ben as if fleeing; a retired couple reminisce about neighbours long since moved on; a teenage boy braves the dark waters of the loch in his red kayak. Each person is wrapped in their own cares but increasingly alert to the makeshift community around them. One particular family, a mother and daughter without the right clothes or the right manners, starts to draw the attention of the others. Tensions rise and all watch on, unaware of the tragedy that lies ahead as night finally falls.

    She is an outsider wherever she goes, caught between being black and white, American and not. She tries to connect these dislocated pieces of her life, and as her mother succumbs to cancer, Thandi searches for an anchor—someone, or something, to love. In arresting and unsettling prose, we watch Thandi’s life unfold, from losing her mother and learning to live without the person who has most profoundly shaped her existence, to her own encounters with romance and unexpected motherhood. Through exquisite and emotional vignettes, Clemmons creates a stunning portrayal of what it means to choose to live, after loss. An elegiac distillation, at once intellectual and visceral, of a young woman’s understanding of absence and identity that spans continents and decades, What We Lose heralds the arrival of a virtuosic new voice in fiction.

    This'll be the third boyfriend Ayoola's dispatched in, quote, self-defence and the third mess that her lethal little sibling has left Korede to clear away. She should probably go to the police for the good of the menfolk of Nigeria, but she loves her sister and, as they say, family always comes first. Until, that is, Ayoola starts dating the doctor where Korede works as a nurse. Korede's long been in love with him, and isn't prepared to see him wind up with a knife in his back: but to save one would mean sacrificing the other...My Sister, the Serial Killer is a blackly comic novel about how blood is thicker - and more difficult to get out of the carpet - than water...

    Raised by two attentive parents in Washington, D.C., he’s a top student and a track star at his prestigious private high school. Bound for Harvard in the fall, his prospects are bright. But Niru has a painful secret: he is queer—an abominable sin to his conservative Nigerian parents. No one knows except Meredith, his best friend, the daughter of prominent Washington insiders—and the one person who seems not to judge him.When his father accidentally discovers Niru is gay, the fallout is brutal and swift. Coping with troubles of her own, however, Meredith finds that she has little left emotionally to offer him. As the two friends struggle to reconcile their desires against the expectations and institutions that seek to define them, they find themselves speeding toward a future more violent and senseless than they can imagine.

    Ivan Vladislavic lays moments side by side like photographs on a table. He lucidly portrays a city and its many lives through reflections on memory, art, and what we should really be seeking.Ivan Vladislavic is the author of a number of prize-winning fiction and nonfiction books. He currently lives in Johannesburg, South Africa.

    The disembodied yet interconnected characters include Sara, a 19-year-old chambermaid who has recently died at the hotel; her bereaved sister, Clare, who visits the scene of Sara's death; Penny, an advertising copywriter who is staying in the room opposite; Lise, the Global's depressed receptionist; and the homeless Else who begs on the street outside. Smith's ambitious prose explores all facets of language and its uses. Sara takes us through the moment of her exit from the world and beyond; in her desperate, fading grip on words and senses she gropes to impart the meaning of her death in what she terms "the lift for dishes"--then comes a flash of clarity: "That's the name for it, the name for it; that's it; dumb waiter dumb waiter dumb waiter." Blended with hers are other voices: Penny's bland journalese and Else's obsession with metaphysical poetry. Hotel World is not an easy read: disturbing and witty by turns, with its stream-of-consciousness narrators reminiscent of Virgina Woolf's The Waves, its deceptively rambling language is underpinned by a formal construction. Exploring the "big themes" of love, death and millennial capitalism, it takes as its starting point Muriel Spark's Momento Mori ("Remember you must die") and counteracts this axiom with a resolute "Remember you must live". Ali Smith's novel is a daring, compelling, and frankly spooky read. --Catherine Taylor

    During the election, the boys are paid by the Small Party to cause trouble. When their attempt to burn down the opposition’s local headquarters ends in disaster, Dantala must run for his life, leaving his best friend behind. He makes his way to a mosque that provides him with food, shelter, and guidance. With his quick aptitude and modest nature, Dantala becomes a favored apprentice to the mosque’s sheikh. Before long, he is faced with a terrible conflict of loyalties, as one of the sheikh’s closest advisors begins to raise his own radical movement. When bloodshed erupts in the city around him, Dantala must decide what kind of Muslim—and what kind of man—he wants to be. Told in Dantala’s naïve, searching voice, this astonishing debut explores the ways in which young men are seduced by religious fundamentalism and violence.

    It seeks to expose the fallacies of the human condition while remaining real in its depiction of universal problems inflicted on postcolonial Africa.

    Gbessa, exiled from the West African village of Lai, is starved, bitten by a viper, and left for dead, but still she survives. June Dey, raised on a plantation in Virginia, hides his unusual strength until a confrontation with the overseer forces him to flee. Norman Aragon, the child of a white British colonizer and a Maroon slave from Jamaica, can fade from sight when the earth calls him. When the three meet in the settlement of Monrovia, their gifts help them salvage the tense relationship between the African American settlers and the indigenous tribes, as a new nation forms around them.Moore’s intermingling of history and magical realism finds voice not just in these three characters but also in the fleeting spirit of the wind, who embodies an ancient wisdom. “If she was not a woman,” the wind says of Gbessa, “she would be king.” In this vibrant story of the African diaspora, Moore, a talented storyteller and a daring writer, illuminates with radiant and exacting prose the tumultuous roots of a country inextricably bound to the United States. She Would Be King is a novel of profound depth set against a vast canvas and a transcendent debut from a major new author.

    At heart a love story, it is also so much more as, through the experiences of its charismatic protagonists, it charts the first two decades of the emerging Zimbabwe with honesty, humour and humanity... Irene Sabatini has written an important book that will enchant readers and which marks the emergence of a serious new talent.”Di Spiers, Editor of Readings at BBC Radio 4,Orange Award for New Writers Chair of JudgesSynopsis:In Bulawayo, Zimbabwe, there is a tragedy in the house next door to Lindiwe Bishop; her neighbor has been burned alive. The victim's stepson, Ian McKenzie, is the prime suspect but is soon released. Lindiwe can't hide her fascination with this young, boisterous and mysterious white man, and they soon forge an unlikely closeness even as the country starts to deteriorate. Years after circumstances split them apart, Ian returns to a much-changed Zimbabwe to see Lindiwe, now a sophisticated, impassioned young woman, and discovers a devastating secret that will alter both of their futures, and draw them closer together even as the world seems bent on keeping them apart. The Boy Next Door is a moving and powerful debut about two people finding themselves and each other in a time of national upheaval.

    A renowned surgeon and failed husband, he succumbs suddenly at dawn outside his home in suburban Accra. The news of Kweku’s death sends a ripple around the world, bringing together the family he abandoned years before. Ghana Must Go is their story. Electric, exhilarating, beautifully crafted, Ghana Must Go is a testament to the transformative power of unconditional love, from a debut novelist of extraordinary talent.  Moving with great elegance through time and place, Ghana Must Go charts the Sais’ circuitous journey to one another. In the wake of Kweku’s death, his children gather in Ghana at their enigmatic mother’s new home. The eldest son and his wife; the mysterious, beautiful twins; the baby sister, now a young woman: each carries secrets of his own. What is revealed in their coming together is the story of how they came apart: the hearts broken, the lies told, the crimes committed in the name of love. Splintered, alone, each navigates his pain, believing that what has been lost can never be recovered—until, in Ghana, a new way forward, a new family, begins to emerge.Ghana Must Go is at once a portrait of a modern family, and an exploration of the importance of where we come from to who we are. In a sweeping narrative that takes us from Accra to Lagos to London to New York, Ghana Must Go teaches that the truths we speak can heal the wounds we hide.

    But when Sylvie dies, the ground shifts dangerously for the remaining three.They are Jude, a once-famous restaurateur; Wendy, an acclaimed public intellectual; and Adele, a renowned actress now mostly out of work. Struggling to recall exactly why they've remained close all these years, the grieving women gather at Sylvie's old beach house--not for festivities this time, but to clean it out before it is sold. Can they survive together without her?Without Sylvie to maintain the group's delicate equilibrium, frustrations build and painful memories press in. Fraying tempers, an elderly dog, unwelcome guests and too much wine collide in a storm that brings long-buried hurts to the surface--and threatens to sweep away their friendship for good.The Weekend explores growing old and growing up, and what happens when we're forced to uncover the lies we tell ourselves. Sharply observed and excruciatingly funny, this is a jewel of a book: a celebration of tenderness and friendship from an award-winning writer.

    A young writer uncertain of what he wants to say, the man moves through tableaus of life in one of the most dynamic cities in the world: he hears the muezzin's call to prayer in the early morning light, and listens to John Coltrane during the late afternoon heat. He witnesses teenagers diligently perpetrating e-mail frauds from internet cafes, longs after a woman reading Michael Ondaatje on a public bus, and visits the impoverished National Museum. Along the way, he reconnects with old school friends and his family, who force him to ask himself profound questions of personal and national history. Over long, wandering days, the narrator compares present-day Lagos to the Lagos of his memory, and in doing so reveals changes that have taken place in himself.

    Nora Eldridge, a thirty-seven-year-old elementary school teacher in Cambridge, Massachusetts, who long ago abandoned her ambition to be a successful artist, has become the "woman upstairs," a reliable friend and tidy neighbor always on the fringe of others' achievements. Then into her classroom walks Reza Shahid, a child who enchants as if from a fairy tale. He and his parents--dashing Skandar, a Lebanese scholar and professor at the École Normale Supérleure; and Sirena, an effortlessly glamorous Italian artist--have come to Boston for Skandar to take up a fellowship at Harvard. When Reza is attacked by schoolyard bullies who call him a "terrorist," Nora is drawn into the complex world of the Shahid family: she finds herself falling in love with them, separately and together. Nora's happiness explodes her boundaries, until Sirena's careless ambition leads to a shattering betrayal. Told with urgency, intimacy, and piercing emotion, this story of obsession and artistic fulfillment explores the thrill--and the devastating cost--of giving in to one's passions.

    As he hits the city streets running, still reeling from his new-found condition, Furo finds the dead ends of his life open out before him. As a white man in Nigeria, the world is seemingly his oyster – except for one thing: despite his radical transformation, Furo's ass remains robustly black . . .Funny, fierce, inventive and daringly provocative – this is a very modern satire, with a sting in the tail.