An extraordinarily well-crafted work, this book is a work of vision. Through its deft negotiation of race, class, gender and cultural change, it dramatizes the 'nervousness' of the 'postcolonial' conditions that bedevil us still. In Tambu and the women of her family, we African women see ourselves, whether at home or displaced, doing daily battle with our changing world with a mixture of tenacity, bewilderment and grace.

    Makhaya, a political refugee from South Africa, becomes involved with an English agricultural expert and the villagers as they struggle to upgrade their traditional farming methods with modern techniques. The pressures of tradition, the opposition of the local chief, and, above all, the harsh climate threaten to bring tragedy to the community, but strangely, there remains a hope for the future.

    It took ten years and a half a million miles of travel across three continents to find it, but finally, in an astonishing feat of genealogical detective work, he discovered not only the name of "the African"—Kunta Kinte—but the precise location of Juffure, the very village in The Gambia, West Africa, from which he was abducted in 1767 at the age of sixteen and taken on the Lord Ligonier to Maryland and sold to a Virginia planter.Haley has talked in Juffure with his own African sixth cousins. On September 29, 1967, he stood on the dock in Annapolis where his great-great-great-great-grandfather was taken ashore on September 29, 1767. Now he has written the monumental two-century drama of Kunta Kinte and the six generations who came after him—slaves and freedmen, farmers and blacksmiths, lumber mill workers and Pullman porters, lawyers and architects—and one author.But Haley has done more than recapture the history of his own family. As the first black American writer to trace his origins back to their roots, he has told the story of 25,000,000 Americans of African descent. He has rediscovered for an entire people a rich cultural heritage that slavery took away from them, along with their names and their identities. But Roots speaks, finally, not just to blacks, or to whites, but to all people and all races everywhere, for the story it tells is one of the most eloquent testimonials ever written to the indomitability of the human spirit.

    a tale of a young man’s continuing struggle to gain acceptance amongst his people, and to break the cycle of alienation and violence that plagues his life. Imaro is heroic fantasy like it’s never been done before. Based on Africa, and African traditions and legends, Charles Saunders has created Nyumbani (which means “home” in Swahili), an amalgam of the real, the semi-real, and the unreal. Imaro is the name of the larger-than-life warrior, an outcast, who travels across Nyumbani, searching for a home. Like his contemporaries, Karl Edward Wagner (Kane) and Michael Moorcock (Elric), Charles Saunders brings something new to the traditional heroic fantasy tale. A broad knowledge of, and passion for, the history and myths of Africa led to the creation of a heroic fantasy character the likes of which the world has never seen. Imaro is no Tarzan… no Conan… Imaro is a warrior out of African legend.Saunders' novel fuses the narrative style of fantasy fiction with a pre-colonial, alternate Africa. Inspired by and directly addresses the alienation of growing up an African American fan of Science Fiction and Fantasy, which to this day remains a very ethnically homogonous genre. It addresses this both structurally (via its unique setting) and thematically (via its alienated, tribeless hero-protagonist). The tribal tensions and histories presented in this fantasy novel reflect actual African tribal histories and tensions, and provide a unique perspective to current and recent conflicts in Africa, particularly the Rwandan genocide and the ongoing conflict in The Sudan.

    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.

    This makes it a special year for the Port Harcourt Book Festival, which will be in its seventh year, and bigger than ever. They are joining forces with the internationally renowned Hay Festival, which will bring to Port Harcourt its 39 Project-a competition to identify the thirty-nine most promising young talents under the age of forty in sub-Saharan Africa and the diaspora. It follows the success of Bogotá 39 in 2007 and Beirut 39 in 2010. Both recognized a number of authors who now have international profiles: in Bogotá, Adriana Lisboa, Alejandro Zambra, Juan Gabriel Vásquez, Daniel Alarcón, and Junot Díaz; in Beirut, Randa Jarrar, Joumana Haddad, Abdellah Taia, Samar Yazbek, and Faiza Guene. In Nigeria this year, the esteemed judges include leading-edge publisher Margaret Busby; novelist and playwright Elechi Amadi,writer and scholar Osonye Tess Onwueme, and Caine Prize winner Binyavanga Wainaina.For the second time, Bloomsbury is honored to be a part of the festivities, publishing worldwide Africa39-a collection of brand new work from these talented thirty-nine.With an introduction by Wole Soyinka, Africa39 is a must-read for anyone curious about Africa today and Africa tomorrow, as envisioned through the eyes of its brightest literary stars.

    Dusman Gonzaga lives in a squalid tenement building overrun with cockroaches and inhabited by strange characters. His is a world of poverty, fights, bar women and visits to a doctor who doesn't understand him.

    Born in a rural village in 1940, Wangari Maathai was already an iconoclast as a child, determined to get an education even though most girls were uneducated. We see her studying with Catholic missionaries, earning bachelor’s and master’s degrees in the United States, and becoming the first woman both to earn a PhD in East and Central Africa and to head a university department in Kenya. We witness her numerous run-ins with the brutal Moi government. She makes clear the political and personal reasons that compelled her, in 1977, to establish the Green Belt Movement, which spread from Kenya across Africa and which helps restore indigenous forests while assisting rural women by paying them to plant trees in their villages. We see how Maathai’s extraordinary courage and determination helped transform Kenya’s government into the democracy in which she now serves as assistant minister for the environment and as a member of Parliament. And we are with her as she accepts the Nobel Peace Prize, awarded in recognition of her “contribution to sustainable development, human rights, and peace.” In Unbowed, Wangari Maathai offers an inspiring message of hope and prosperity through self-sufficiency.

    The Beautyful Ones Are Not Yet Born is the novel that catapulted Ayi Kwei Armah into the limelight. The novel is generally a satirical attack on the Ghanaian society during Kwame Nkrumah’s regime and the period immediately after independence in the 1960s. It is often claimed to rank with Things Fall Apart as one of the high points of post-colonial African Literature.

    It is an incisive examination of the problems of independence and freedom in post-colonial Africa states, where few believe they have a stake in the future. In the words of one of the characters: "It was better while we waited. Now we have nothing to look forward to. We have killed our past and are busy killing our future." Francis Imbuga is a playwright and actor. He is the recipient of the Kenya National Academy of Sciences Distinguished Professional Award in Play Writing.

    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.

    With his father a victim of the bloody Ethiopian civil war and his mother dying the day of his birth, Askar is taken in and raised by a woman named Misra amid the scandal, gossip, and ritual of a small African village. As an adolescent, Askar goes to live in Somalia's capital, where he strives to find himself just as Somalia struggles for national identity.

    As four Moroccans illegally cross the Strait of Gibraltar in an inflatable boat headed for Spain, author Laila Lalami asks, What has driven them to risk their lives? And will the rewards prove to be worth the danger? There’s Murad, a gentle, unemployed man who’s been reduced to hustling tourists around Tangier; Halima, who’s fleeing her drunken husband and the slums of Casablanca; Aziz, who must leave behind his devoted wife in hope of securing work in Spain; and Faten, a student and religious fanatic whose faith is at odds with an influential man determined to destroy her future. Sensitively written with beauty and boldness, this is a gripping book about what propels people to risk their lives in search of a better future.

    Like Salman Rushdie's Midnight's Children or Gabriel Garcia Marquez's One Hundred Years of Solitude, it combines brilliant narrative technique with a fresh vision to create an essential work of world literature.The narrator, Azaro, is an abiku, a spirit child, who in the Yoruba tradition of Nigeria exists between life and death. The life he foresees for himself and the tale he tells is full of sadness and tragedy, but inexplicably he is born with a smile on his face. Nearly called back to the land of the dead, he is resurrected. But in their efforts to save their child, Azaro's loving parents are made destitute. The tension between the land of the living, with its violence and political struggles, and the temptations of the carefree kingdom of the spirits propels this latter-day Lazarus's story.

    is the debut collection of prose and poetry by Malawian writer, Upile Chisala. This book explores the self, joy, blackness, gender, matters of the heart, the experience of Diaspora, spirituality and most of all, how we survive. soft magic. is a shared healing journey.