Living in small-town Utah has always been an uneasy fit for Tunde Akinola’s family, especially for his Nigeria-born parents. Though Tunde speaks English with a Midwestern accent, he can’t escape the children who rub his skin and ask why the black won’t come off. As he struggles to fit in and find his place in the world, he finds little solace from his parents who are grappling with their own issues.Tunde’s father, ever the optimist, works tirelessly chasing his American dream while his wife, lonely in Utah without family and friends, sinks deeper into schizophrenia. Then one otherwise-ordinary morning, Tunde’s mother wakes him with a hug, bundles him and his baby brother into the car, and takes them away from the only home they’ve ever known.But running away doesn’t bring her, or her children, any relief from the demons that plague her; once Tunde’s father tracks them down, she flees to Nigeria, and Tunde never feels at home again. He spends the rest of his childhood and young adulthood searching for connection — to the wary stepmother and stepbrothers he gains when his father remarries; to the Utah residents who mock his father’s accent; to evangelical religion; to his Texas middle school’s crowd of African-Americans; to the fraternity brothers of his historically black college. In so doing, he discovers something that sends him on a journey away from everything he has known.Sweeping, stirring, and perspective-shifting, A Particular Kind of Black Man is a beautiful and poignant exploration of the meaning of memory, manhood, home, and identity as seen through the eyes of a first-generation Nigerian-American.

    A simple, apolitical man, he believes in the essential fairness of the South African government and its policies—until the sudden arrest and subsequent "suicide" of a black janitor from Du Toit's school. Haunted by new questions and desperate to believe that the man's death was a tragic accident, Du Toit undertakes an investigation into the terrible affair—a quest for the truth that will have devastating consequences for the teacher and his family, as it draws him into a lethal morass of lies, corruption, and murder.

    This world came to him as a chaos of loud and colorful sounds: the hair dryers at his mother's beauty parlor, black mamba bicycle bells, mechanics in Nairobi, the music of Michael Jackson—all punctuated by the infectious laughter of his brother and sister, Jimmy and Ciru. He could fall in with their patterns, but it would take him a while to carve out his own.In this vivid and compelling debut memoir, Wainaina takes us through his school days, his mother's religious period, his failed attempt to study in South Africa as a computer programmer, a moving family reunion in Uganda, and his travels around Kenya. The landscape in front of him always claims his main attention, but he also evokes the shifting political scene that unsettles his views on family, tribe, and nationhood.Throughout, reading is his refuge and his solace. And when, in 2002, a writing prize comes through, the door is opened for him to pursue the career that perhaps had been beckoning all along. A series of fascinating international reporting assignments follow. Finally he circles back to a Kenya in the throes of postelection violence and finds he is not the only one questioning the old certainties.Resolutely avoiding stereotype and cliché, Wainaina paints every scene in One Day I Will Write About This Place with a highly distinctive and hugely memorable brush.

    A group of passengers is huddled in a Toyota Quantum about to embark on a treacherous expedition to the City of Gold. Amongst them is Gugulethu, who is hoping to be reconciled with her mother; Dumisani, an ambitious young man who believes he will strike it rich, Chamunorwa and Chenai, twins running from their troubled past; and Portia and Nkosi, a mother and son desperate to be reunited with a husband and father they see once a year.They have paid a high price for the dangerous passage to what they believe is a better life; an escape from the vicious vagaries of their present life in Bulawayo. In their minds, the streets of Johannesburg are paved with gold but they will have to dig deep to get close to any gold, dirtying themselves in the process.Told with brave honesty and bold description, the stories of the individual immigrants are simultaneously heart-breaking and heart-warming.

    The mistress of the house, Dona Deolinda, embarks on a mission to save Ndani's soul through religious teaching, but the master of the house has less righteous intentions. Ndani is expelled from the house and drifts towards home, where she becomes the wife of a village chief. He has built a mansion and a school to flaunt his power to the local Portuguese administrator, but he abandons Ndani when he finds she's not a virgin. She eventually finds love with the school's teacher, but in tumultuous times, making a future with an educated black man involves a series of hurdles.By turns humorous, heartrending and wise, The Ultimate Tragedy is a captivating novel that brings this little-known country to colourful, vivid life.

    Lost in shadow is Makeda's grandson Gray, who begins escaping into the magical world of Makeda's tiny parlor.Makeda, a woman blind since birth but who has always dreamed in color, begins to confide in Gray the things she "sees" and remembers from her dream state, and a story emerges that is layered with historical accuracy beyond the scope of Makeda's limited education. Gradually, Gray begins to make a connection between his grPart coming-of-age story, part spiritual journey, and part love story, Makeda is a universal tale of family, heritage, and the ties that bind. Randall Robinson plumbs the hearts of Makeda and Gray and summons our collective blood memories, taking the reader on an unforgettable journey of the soul that will linger long after the last page has been turned.

    In this crowded and often hostile place, she must carve out her new existence, always protecting her mute brother Hagos.A moving portrait of a woman of courage and intelligence, an insider’s view of the textures of life in a refugee camp, and a compelling story of exile, survival and love, Silence is My Mother Tongue bears vivid testimony to the power of imagination and illusion and the infinite reach of human minds to reinvent themselves.Both intimate and epic, Sulaiman Addonia’s extraordinary, subversive and sensual second novel dissects society’s ability to wage war on its own women and explores the stories we must tell to survive in a broken, inhospitable environment.

    Abiola IreleWinner of the Grand Prix Litteraire de l'Afrique Noire"I think this is perhaps the best African novel on colonialism and it draws very richly on various modes of oral literature." --Ralph Austen, University of Chicago"It is a wonderful introduction to colonial rule as experienced by Africans, and in particular, to the rule of African middlemen." --Martin A. Klein, University of Toronto"The Fortunes of Wangrin is not only a wonderful novel by one of Africa's most renowned intellectuals, it is also literally filled with information about French colonization and its impact on traditional African societies, African resistance and collaboration to colonization, the impact of French education in Africa, and a host of other subjects of interest." --Francois Manchuelle, New York UniversityWangrin is a rogue and an operator, hustling both the colonial French and his own people. He is funny, outrageous, corrupt, traditional, and memorable. Ba's book bridges the chasm between oral and written literature. The stories about Wangrin are drawn from oral sources, but in the hands of this gifted writer these materials become transformed through the power of artistic imagination and license.The Fortunes of Wangrin is a classic in Franchophone African literature.Amadou Hampate Ba was a distinguished Malian poet and scholar of African oral tradition and precolonial history.Aina Pavolini Taylor is an independent translator with wide experience of Africa, now living and working in Italy.F. Abiola Irele is a professor in the Department of Black Studies at Ohio State University.

    For real. Heads perfectly straight. Hips swaying, left, slow, right, slow, step, slow. If you didn't concentrate you would think they weren't moving at all, their bodies just hanging in space..."Best mates Karl and Abu are both 17 and live near Kings Cross. Its 2011 and racial tensions are set to explode across London. Abu is infatuated with gorgeous classmate Nalini but dares not speak to her. Meanwhile, Karl is the target of the local "wannabe" thugs just for being different. When Karl finds out his father lives in Nigeria, he decides that Port Harcourt is the best place to escape the sound and fury of London, and connect with a Dad he's never known. Rejected on arrival, Karl befriends Nakale, an activist who wants to expose the ecocide in the Niger Delta to the world, and falls headlong for his feisty cousin Janoma. Meanwhile, the murder of Mark Duggan triggers a full-scale riot in London. Abu finds himself in its midst, leading to a near-tragedy that forces Karl to race back home.When We Speak of Nothing launches a powerful new voice onto the literary stage.The fluid prose, peppered with contemporary slang, captures what it means to be young, black and queer in London. If grime music were a novel, it would be this.

    Magona decided to write this novel when she discovered that Fulbright Scholar Amy Biehl, who had been killed while working to organize the nation's first ever democratic elections in 1993, died just a few yards away from her own permanent residence in Guguletu, Capetown. She then learned that one of the boys held responsible for the killing was in fact her neighbor's son. Magona began to imagine how easily it might have been her own son caught up in the wave of violence that day. The book is based on this real-life incident, and takes the form of an epistle to Amy Biehl's mother. The murderer's mother, Mandisi, writes about her life, the life of her child, and the colonized society that not only allowed, but perpetuated violence against women and impoverished black South Africans under the reign of apartheid. The result is not an apology for the murder, but a beautifully written exploration of the society that bred such violence.

    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

    In this daring novel, the author gives a startling account of the inner workings of contemporary South African urban culture. In doing so, he ventures into unexplored areas and takes local writing in English to places it hasn't been before. The Quiet Violence of Dreams is set in Cape Town's cosmopolitan neighbourhoods - Observatory, Mowbray and Sea Point - where subcultures thrive and alternative lifestyles are tolerated. The plot revolves around Tshepo, a student at Rhodes, who gets confined to a Cape Town mental institution after an episode of 'cannabis-induced psychosis'. He escapes but is returned to the hospital and completes his rehabilitation, earns his release - and promptly terminates his studies. He now works as a waiter and shares an apartment with a newly released prisoner. The relationship with his flatmate deteriorates and Tshepo loses his job at the Waterfront. Desperate for an income, he finds work at a male massage parlour, using the pseudonym Angelo. The novel explores Tshepo-Angelo's coming to consciousness of his sexuality, sexual orientation, and place in the world. lifestyle and set of experiences are explored - that of a young black woman who gets involved with a disabled German student who does not want to commit to marriage, despite Mmabatho's unplanned pregnancy.

    The story takes place in Harare at the height of Zimbabwe’s economic woes in 2008. The book is a thorough and evocative attempt at grappling with a variety of important issues in the postcolonial context: tradition and modernity; feminism and patriarchy; spiritual and political freedoms and responsibilities; poverty and desperation; and wealth and abundance.

    war and famine, an Africa that endures despite everything because, as we say back home, life goes on." --Marguerite AbouetIvory Coast, 1978. Family and friends gather at Aya's house every evening to watch the country's first television ad campaign promoting the fortifying effects of Solibra, "the strong man's beer." It's a golden time, and the nation, too--an oasis of affluence and stability in West Africa--seems fueled by something wondrous.Who's to know that the Ivorian miracle is nearing its end? In the sun-warmed streets of working-class Yopougon, aka Yop City, holidays are around the corner, the open-air bars and discos are starting to fill up, and trouble of a different kind is about to raise eyebrows. At night, an empty table in the market square under the stars is all the privacy young lovers can hope for, and what happens there is soon everybody's business.Aya tells the story of its nineteen-year-old heroine, the studious and clear-sighted Aya, her easygoing friends Adjoua and Bintou, and their meddling relatives and neighbors. It's a breezy and wryly funny account of the desire for joy and freedom, and of the simple pleasures and private troubles of everyday life in Yop City. An unpretentious and gently humorous story of an Africa we rarely see-spirited, hopeful, and resilient--Aya won the 2006 award for Best First Album at the Angoulême International Comics Festival. Clément Oubrerie's warm colors and energetic, playful lines connect expressively with Marguerite Abouet's vibrant writing.

    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...