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

    In it, the main character Baako is a "been to", meaning that he has been to the United States and received his education there. As a result of this privilege, he is expected to return to his family bearing the monetary gifts which this status yields in Ghana. These material goods are bought with graft and corruption, which impoverishes the country's infrastructure. The author contrasts the decadence and materialism of those who see Baako as a cash cow with the philosophy of his blind grandmother, Naana, whose concerns are not of this earth.

    It provides an account of the exploitation of women in Africa and Europe, and tells of an immigrant who, having travelled to Germany to find a paradise, finds she has been betrayed by her husband and is forced into prostitution.

    The story involves a mother's love, and a lover's yearning, for a young man who has joined the freedom fighters. Hove captures the ambivalence and conflicts of loyalties in the attitude of the peasants towards the guerillas, and underscores the state's indifference to the lives of ordinary people.

    By the author of Kill Me Quick and Striving for the Wind.

    They learn of his adventures, among them his encounter with the Jungle Witch and her ostrich, his visit to the town of the water people and his imprisonment by the Goddess of Diamonds. Each night the people return, eager to discover if there is a happy ending.

    She comes to Europe, to a land of towering mountains and low grey skies and tries to make sense of it all. What is she doing here? Why aren't the natives friendly? And what will she do when she goes back home?Ghanaian writer Ama Ata Aidoo's brilliantly conceived prose poem is by turns bitter and gentle, and is a highly personal exploration of the conflicts between Africa and Europe, between men and women and between a complacent acceptance of the status quo and a passionate desire to reform a rotten world. Of her own writing, Ama Ata Aidoo says, "I write about people, about what strikes me and interests me. It seems the most natural thing in the world for women to write with women as central characters; making women the centre of my universe was spontaneous."

    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.

    It centers around a young Nigerian woman, Ada, who develops separate selves within her as a result of being born "with one foot on the other side." Unsettling, heartwrenching, dark, and powerful, Freshwater is a sharp evocation of a rare way of experiencing the world, one that illuminates how we all construct our identities.Ada begins her life in the south of Nigeria as a troubled baby and a source of deep concern to her family. Her parents, Saul and Saachi, successfully prayed her into existence, but as she grows into a volatile and splintered child, it becomes clear that something went terribly awry. When Ada comes of age and moves to America for college, the group of selves within her grows in power and agency. A traumatic assault leads to a crystallization of her alternate selves: Asụghara and Saint Vincent. As Ada fades into the background of her own mind and these selves--now protective, now hedonistic--move into control, Ada's life spirals in a dark and dangerous direction.Narrated by the various selves within Ada and based in the author's realities, Freshwater dazzles with ferocious energy and serpentine grace, heralding the arrival of a fierce new literary voice.

    The story that he tells, nearly 40 years later, is of his early days at home and in school, brought up in a strict mission household and conflicting with his father.

    When a political refugee from South Africa joins forces with an English agricultural expert, the time-honoured subsistence-farming method and old ways of life are challenged.

    Khumalo’s salon, and she is secure in her status until the handsome, smooth-talking Dumisani shows up one day for work. Despite her resistance, the two become friends, and eventually, Vimbai becomes Dumisani’s landlady. He is as charming as he is deft with the scissors, and Vimbai finds that he means more and more to her. Yet, by novel’s end, the pair’s deepening friendship—used or embraced by Dumisani and Vimbai with different futures in mind—collapses in unexpected brutality.The novel is an acute portrayal of a rapidly changing Zimbabwe. In addition to Vimbai and Dumisani’s personal development, the book shows us how social concerns shape the lives of everyday people.

    "Black Sunlight" gives a similar cockroach-eye view of London.“I really tried to put terrorism into a historical perspective, neither applauding their acts nor condemning them. The photographer does not take sides; he just takes the press photographs.” In an unspecified setting the stream-of-consciousness narrative of this cult novel traces the fortunes of a group of anarchists in revolt against a military-fascist-capitalist opposition. The protagonist is photojournalist Chris, whose camera lens becomes the device through which the plot is cleverly unraveled. In Dambudzo Marechera’s second experimental novel, he parodies African nationalist and racial identifications as part of an argument that notions of an ‘essential African identity’ were often invoked to authorize a number of totalitarian regimes across Africa. Such irreverent, avant-garde literature was criticized upon publication in Zimbabwe in 1980, and Black Sunlight was banned on charges of ‘Euromodernism’ and as a challenge to the concept of nation-building in the newly independent country.

    In this ambitious tale of a clan and of a nation, Makumbi weaves together the stories of Kintu’s descendants as they seek to break from the burden of their shared past and reconcile the inheritance of tradition and the modern world that is their future.

    Mai Sunsaye, the hero of the story, is afflicted with the sokugo, wandering sickness.