Despite the seemingly insurmountable obstacles in her path, Adunni never loses sight of her goal of escaping the life of poverty she was born into so that she can build the future she chooses for herself - and help other girls like her do the same. Her spirited determination to find joy and hope in even the most difficult circumstances imaginable will “break your heart and then put it back together again” (Jenna Bush Hager on The Today Show) even as Adunni shows us how one courageous young girl can inspire us all to reach for our dreams...and maybe even change the world.

    Pictures the transition between the old white-dominated Southern Rhodesia, through the Bush War, to the new black regime of Zimbabwe.

    They are about the brutalization of the individual's mental processes, until madness, violence and despair become the normal state of affairs for families in black urban areas.

    Their enigmatic lodger, Zamani, seems to be their last, best hope for finding him. Since Bukhosi's disappearance, Zamani has been preternaturally helpful: hanging missing posters in downtown Bulawayo, handing out fliers to passersby, and joining in family prayer vigils with the flamboyant Reverend Pastor from Agnes's Blessed Anointings church. It's almost like Zamani is part of the family....But almost isn't nearly enough for Zamani. He ingratiates himself with Agnes and feeds alcoholic Abednego's addiction, desperate to extract their life stories and steep himself in borrowed family history, as keenly aware as any colonialist or power-mad despot that the one who controls the narrative inherits the future. As Abednego wrestles with the ghosts of his past and Agnes seeks solace in a deep-rooted love, their histories converge and each must confront the past to find their place in a new Zimbabwe. Pulsing with wit, seduction, and dark humor, House of Stone is a sweeping epic that spans the fall of Rhodesia through Zimbabwe's turbulent beginnings, exploring the persistence of the oppressed in a young nation seeking an identity, but built on forgetting.

    The author's use of 'rotten English'—a mixture of Nigerian pidgin English, broken English and idiomatic English—makes this a unique and powerful novel.

    Flora Nwapa's first novel plants her story firmly in the world of women, where Efuru, beautiful and respected, is loved and deserted by two ordinary, undistinguished husbands.

    It is also a very sad one. Moldovan writer Vladimir Lorchenkov tells the story of a group of villagers and their tragicomic efforts, against all odds and at any cost, to emigrate from Europe’s most impoverished nation to Italy for work. The Good Life Elsewhere aims to present the complexity of a new Europe, where allegiances shift but memories are rooted in place. The book integrates small-scale human follies with strategic partnerships, unification plans, and the Soviet legacies that still hang over the former Eastern Bloc. Lorchenkov addresses the vexing question of what to do when many formerly pro-Soviet/pro-Russia countries want to link arms with their Western European brethren. In this uproarious tale, an Orthodox priest is deserted by his wife for an art-dealing atheist; a mechanic redesigns his tractor for travel by air and sea; thousands of villagers take to the road on a modern-day religious crusade to make it to the promised land of Italy; meanwhile, politicians remain politicians. Like many great satirists from Voltaire to Gogol to Vonnegut, Lorchenkov makes use of the grotesque to both horrify us and help us laugh. It is not often that stories from forgotten countries such as Moldova reach us in the English-speaking world. A country where 25 percent of its population works abroad, where remittances make up nearly 40 percent of the GDP, where alcohol consumption per capita is the highest in the world, and which has the lowest per capita income in all of Europe – this is a country that surely has its problems. But, as Lorchenkov vividly shows, it’s a country whose residents don’t easily give up.Russian critics have praised Lorchenkov’s work, calling this novel “a bleeding, wild work, grotesque in every twist of its plot and in every character, written brightly, bitterly, humorously, and – paradoxically, as we’re dealing with the grotesque – honestly.” In The Good Life Elsewhere, Vladimir Lorchenkov shows himself to be a fearless critic, an enduring optimist, and a master stylist. And he does it all “in vivid colors, with a pamphleteer’s spite, and a good-humored smile.”

    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.

    It is 1971, a year after the Biafran War, and Nigeria is under military rule—though the politics of the state matter less than those of her home to Enitan Taiwo, an eleven-year-old girl tired of waiting for school to start. Will her mother, who has become deeply religious since the death of Taiwo's brother, allow her friendship with the new girl next door, the brash and beautiful Sheri Bakare? Everything Good Will Come charts the fate of these two African girls, one born of privilege and the other, a lower class "half-caste"; one who is prepared to manipulate the traditional system while the other attempts to defy it.Written in the voice of Enitan, the novel traces this unusual friendship into their adult lives, against the backdrop of tragedy, family strife, and a war-torn Nigeria. In the end, Everything Good Will Come is Enitan's story; one of a fiercely intelligent, strong young woman coming of age in a culture that still insists on feminine submission. Enitan bucks the familial and political systems until she is confronted with the one desire too precious to forfeit in the name of personal freedom: her desire for a child. Everything Good Will Come evokes the sights and smells of Africa while imparting a wise and universal story of love, friendship, prejudice, survival, politics, and the cost of divided loyalties.

    Rifaat (1930-1996) did not go to university, spoke only Arabic, and seldom traveled abroad. This virtual immunity from Western influence lends a special authenticity to her direct yet sincere accounts of death, sexual fulfillment, the lives of women in purdah, and the frustrations of everyday life in a male-dominated Islamic environment.Translated from the Arabic by Denys Johnson-Davies, the collection admits the reader into a hidden private world, regulated by the call of the mosque, but often full of profound anguish and personal isolation. Badriyya's despariting anger at her deceitful husband, for example, or the hauntingly melancholy of "At the Time of the Jasmine," are treated with a sensitivity to the discipline and order of Islam.

    In the fall of 2007, Jende can hardly believe his luck when he lands a job as a chauffeur for Clark Edwards, a senior executive at Lehman Brothers. Clark demands punctuality, discretion, and loyalty—and Jende is eager to please. Clark’s wife, Cindy, even offers Neni temporary work at the Edwardses’ summer home in the Hamptons. With these opportunities, Jende and Neni can at last gain a foothold in America and imagine a brighter future. However, the world of great power and privilege conceals troubling secrets, and soon Jende and Neni notice cracks in their employers’ façades. When the financial world is rocked by the collapse of Lehman Brothers, the Jongas are desperate to keep Jende’s job—even as their marriage threatens to fall apart. As all four lives are dramatically upended, Jende and Neni are forced to make an impossible choice.

    It was the beginning of the Ottoman Turkish government’s systematic attempt to eliminate the Armenian people from Turkey; it was a campaign that continued through World War I and the fall of the Ottoman Empire, by which time more than a million Armenians had been annihilated and expunged from their historic homeland. For Grigoris Balakian, himself condemned, it was also the beginning of a four-year ordeal during which he would bear witness to a seemingly endless caravan of blood.Balakian sees his countrymen sent in carts, on donkeys, or on foot to face certain death in the desert of northern Syria. Many would not even survive the journey, suffering starvation, disease, mutilation, and rape, among other tortures, before being slaughtered en route. In these pages, he brings to life the words and deeds of survivors, foreign witnesses, and Turkish officials involved in the massacre process, and also of those few brave, righteous Turks, who, with some of their German allies working for the Baghdad Railway, resisted orders calling for the death of the Armenians. Miraculously, Balakian manages to escape, and his flight—through forest and over mountain, in disguise as a railroad worker and then as a German soldier—is a suspenseful, harrowing odyssey that makes possible his singular testimony.Full of shrewd insights into the political, historical, and cultural context of the Armenian genocide—the template for the subsequent mass killings that have cast a shadow across the twentieth century and beyond—this memoir is destined to become a classic of survivor literature. Armenian Golgotha is sure to deepen our understanding of a catastrophic crime that the Turkish government, the Ottomans’ successor, denies to this day.

    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.

    In The Mandarin he turns his satirical eye on the sin of avarice and asks the following question: In the depths of China there lives a mandarin who is richer than any king spoken of in fable or in history. You know nothing about him, not his name, his face or the silks that he wears. In order for you to inherit his limitless wealth, all you have to do is to ring the bell placed on a book by your side. In that remote corner of Mongolia, he will utter a single sigh. He will then be a corpse, and at your feet you will see gold beyond the dreams of avarice. Mortal reader, will you ring the bell?’ When Teodoro, our timid, lowly narrator, says 'Yes’, he finds that fabulous wealth brings with it unexpected problems. The three very different stories that complete the collection – 'The Idiosyncrasies of a Young Blonde Woman’, 'The Hanged Man’ and 'Jose Matas’ – are all tales of obsessive love, each told with Eca's irrepressible wit and originality. “A brilliant mischievous essay in fantasy chinoiserie, irreverently subverting the trope, created half a century earlier by Balzac in La Peau de chagrin, of the Oriental curse masquerading as a blessing. In the same Dedalus collection of Eca's short fiction lies a late gem,'Jose Matias', a love story told at a funeral by a Hegelian philosopher, in which the issue of the narrator's own relationship with reality adds a comically ambiguous layer to the tale." Jonathan Keates in The Times Literary Supplement

    At either end of the twentieth century, two women fall in love with men outside their familiar worlds. In 1901, Anna Winterbourne, recently widowed, leaves England for Egypt, an outpost of the Empire roiling with nationalist sentiment. Far from the comfort of the British colony, she finds herself enraptured by the real Egypt and in love with Sharif Pasha al-Baroudi. Nearly a hundred years later, Isabel Parkman, a divorced American journalist and descendant of Anna and Sharif has fallen in love with Omar al-Ghamrawi, a gifted and difficult Egyptian-American conductor with his own passionate politics. In an attempt to understand her conflicting emotions and to discover the truth behind her heritage, Isabel, too, travels to Egypt, and enlists Omar's sister's help in unravelling the story of Anna and Sharif's love.Joining the romance and intricate storytelling of A.S. Byatt's Possession and Michael Ondaatje's The English Patient, Ahdaf Soueif has once again created a mesmerizing tale of genuine eloquence and lasting importance.