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.

    In the remote penal colony of Van Diemen’s Land, a barefoot aboriginal girl sits for a portrait in a red silk dress. She is Mathinna, the adopted daughter of the island’s governor, Sir John Franklin, and his wife, Lady Jane, and the subject of a grand experiment in civilization -- one that will determine whether science, Christianity, and reason can be imposed on savagery, impulse, and desire. Years later, somewhere in the Arctic, Sir John Franklin has disappeared with his crew and two ships on an expedition to find the fabled Northwest Passage. England is horrified by reports of cannibalism filtering back from search parties, no one more so than the most celebrated novelist of the day, Charles Dickens, for whom Franklin’s story becomes a means to plumb the frozen depths of his own life.

    Maja was five years old when her black Cuban family emigrated from the Caribbean to London. Now, almost twenty years later, Maja is a singer, in love with Aaron, pregnant, and haunted by what she calls “her Cuba.” Growing up in London, she has struggled to negotiate her history and the sense that speaking Spanish or English made her less of a black girl. But she is unable to find herself in the Ewe, Igbo, or Akum of her roots. It seems all that’s left is silence. Meanwhile distance from Cuba has only deepened Maja’s mother faith in Santeria —the fusion of Catholicism and Western African Yoruba religion—but it also divides the family as her father rails against his wife’s superstitions and the lost dreams of the Castro revolution.On the other side of the reality wall, Yemaya Saramagua, a Santeria emissary, lives in a somewherehouse with two doors: one opening to London, the other to Lagos. Yemaya is troubled by the ease with which her fellow emissaries have disguised themselves behind the personas of saints and by her inability to recognize them. Lyrical and intensely moving, The Opposite House is about the disquiet that follows us across places and languages, a feeling passed down from mother and father to son and daughter.

    Though his father is a reclusive scholar, his mother a pious though confused Catholic, and his uncle a shameless opportunist determined to gain power in the shifting politics of their post-colonial nation, Matapari remains an unsullied child who wears Reeboks, drinks Coke, reads Japanese comics, and watches Rambo. But when his family becomes the nucleus of the revolution for democracy, Matapari proves to be the ideal narrator for this story of violent upheaval and bloody corruption–a voice whose ironic innocence makes bearable and even humorous the awful realities of the world it describes.

    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.

    It centers on Marie Fermoyle, a strong but vulnerable woman whose loneliness and ambition for her children make her easy prey for the dangerous con man Omar Duvall. Marie's children are Alice, seventeen - involved with a troubled young priest; Norm, sixteen - hotheaded and idealistic; and Benjy, twelve - isolated and misunderstood, and so desperate for his mother's happiness that he hides the deadly truth only he knows about Duvall. Among a fascinating cast of characters we meet the children's alcoholic father, Sam Fermoyle, now living with his senile mother and embittered sister; Sam's meek brother-in-law, who makes anonymous "love" calls from the bathroom of his ailing appliance store; and the Klubock family, who - in complete contrast to the Fermoyles - live an orderly life in the perfect house next door.An Oprah Winfrey Book Club pick.

    The village knew she was an unhappy wife, but she is still expected to weep and speak the praises of her husband. Her story reveals the value of friendship between women, based on liking rather than traditional beliefs.

    "Ubu and the Truth Commission" is the full play text of a multi-dimensional theatre piece which tries to make sense of the madness which overtook South Africa during apartheid.

    As richly imagined and stylistically innovative as Wicomb's debut work, David's Story is a mesmerizing novel, multilayered and multivoiced, at times elegiac, wry, and expansive.Unfolding in South Africa at the moment of Nelson Mandela's release from prison in 1991, the novel explores the life and vision of David Dirkse, part of the underground world of activists, spies, and saboteurs in the liberation movement—a world seldom revealed to outsiders. With "time to think" after the unbanning of the movement, David is researching his roots in the history of the mixed-race "Coloured" people of South Africa and of their antecedents among the indigenous people and early colonial settlers.But David soon learns that he is on a hit list, and, caught in a web of betrayal and surveillance, he is forced to rethink his role in the struggle for "nonracial democracy," the loyalty of his "comrades," and his own conceptions of freedom. Through voices and stories of David and the women who surround him—responding to, illuminating, and sometimes contradicting one another—Wicomb offers a moving exploration of the nature of political vision, memory, and truth.

    The walks meet a need for Julius: they are a release from the tightly regulated mental environment of work, and they give him the opportunity to process his relationships, his recent breakup with his girlfriend, his present, his past.But it is not only a physical landscape he covers; Julius crisscrosses social territory as well, encountering people from different cultures and classes who will provide insight on his journey—which takes him to Brussels, to the Nigeria of his youth, and into the most unrecognizable facets of his own soul.

    Ashvin leaps, unable to bear the reality of his own life—his activist parents murdered in Somalia; his brutal rape at the hands of Ethiopian soldiers; the constant harassment by London police and his schoolmates; the endless battles he will face as a black man in England. He leaves behind Meina, the beloved older sister he had always tried to protect. James, a lonely, studious teen, the baby of the drug-dealing Morrison clan, whose brothers are dehumanized, violent criminals, desperately wants to escape the family business, but he can't imagine a way out. When James jumps, but survives, Meina seeks James out, and they try to find shelter in one another. Akinti, himself a product of London's council estates (public housing), captures in gracious and resonant prose the fear, anger, and sadness of life in the violent and poverty-stricken slums of London's East End.

    Charting her way through an ill-advised marriage, Soo-Ja must navigate the intrigue and dangers of living with her conniving in-laws, all the while longing for her true love of the past, the elusive Doctor Yul. And when he enters her life again, Soo-Ja is confronted with a final chance at happiness, but must make a mother’s ultimate choice.Epic and intimate, Park’s debut offering—based on his own mother’s story—is a snapshot of a nation rising from a poor, rural country into a major world power in the aftermath of a devastating war. This Burns My Heart evokes a strong sense of place and era reminiscent of Sarah Waters, and the richly drawn characters and exploration of women’s changing roles brings to mind Lisa See.

    Jane is an American journalist who has traveled to Africa, hoping to give a voice to children like Esther and to find her center after a series of failed relationships. In unflinching prose, Minot interweaves their stories, giving us razor-sharp portraits of two extraordinary young women confronting displacement, heartbreak, and the struggle to wrest meaning from events that test them both in unimaginable ways.  With mesmerizing emotional intensity and stunning evocations of Africa's beauty and its horror, Minot gives us her most brilliant and ambitious novel yet.

    The star-studded production includes lead actress Aunjanue Ellis (Ray, The Help), Oscar winner Cuba Gooding Jr. (Jerry Maguire, A Few Good Men), Oscar and Emmy winner Louis Gossett Jr. (A Raisin in the Sun, Boardwalk Empire), and features Lyriq Bent (Rookie Blue), Jane Alexander (The Cider House Rules), and Ben Chaplin (The Thin Red Line). Director and co-writer Clement Virgo is a feature film and television director (The Wire) who also serves as producer with executive producer Damon D'Oliveira (What We Have).In this "transporting" (Entertainment Weekly) and "heart-stopping" (Washington Post) work, Aminata Diallo, one of the strongest women characters in contemporary fiction, is kidnapped from Africa as a child and sold as a slave in South Carolina. Fleeing to Canada after the Revolutionary War, she escapes to attempt a new life in freedom.

    But as the line between idealism and violence becomes increasingly blurred, the friends are driven apart—one into the deepest peril, as the movement gathers inexorable force, and the other into the safety of exile in the American Midwest. There, pretending to be an exchange student, he falls in love with a social worker and settles into small-town life. Yet this idyll is inescapably darkened by the secrets of his past: the acts he committed and the work he left unfinished. Most of all, he is haunted by the beloved friend he left behind, the charismatic leader who first guided him to revolution and then sacrificed everything to ensure his freedom.