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.

    The book has been translated into numerous languages and was chosen by QBR Black Book Review as one of Africa's 100 best books of the twentieth century. No African woman had ever been so frank, in an autobiography, or written so poignantly, about the intimate details of her life—a distinction that, more than two decades later, still holds true. Abandoned by her mother and sent to live with relatives in Dakar, the author tells of being educated in the French colonial school system, where she comes gradually to feel alienated from her family and Muslim upbringing, growing enamored with the West. Academic success gives her the opportunity to study in Belgium, which she looks upon as a "promised land." There she is objectified as an exotic creature, however, and she descends into promiscuity, alcohol and drug abuse, and, eventually, prostitution. (It was out of concern on her editor's part about her candor that the author used the pseudonym Ken Bugul, the Wolof phrase for "the person no one wants.") Her return to Senegal, which concludes the book, presents her with a past she cannot reenter, a painful but necessary realization as she begins to create a new life there. As Norman Rush wrote in the New York Times Book Review, "One comes away from The Abandoned Baobab reluctant to take leave of a brave, sympathetic, and resilient woman." Despite its unflinching look at our darkest impulses, and at the stark facts of being a colonized African, the book is ultimatelyinspirational, for it exposes us to a remarkable sensibility and a hard-won understanding of one's place in the world.CARAF Books: Caribbean and African Literature Translated from French

    Petina Gappah’s characters may have ordinary hopes and dreams, but they are living in a world where a loaf of bread costs half a million dollars, where wives can’t trust even their husbands for fear of AIDS, and where people know exactly what will be printed in the one and only daily newspaper because the news is always, always good.In her spirited debut collection, the Zimbabwean writer Petina Gappah brings us the resilience and inventiveness of the people who struggle to live under Robert Mugabe’s regime. She takes us across the city of Harare, from the townships beset by power cuts to the manicured lawns of privilege and corruption, where wealthy husbands keep their first wives in the “big houses” while their unofficial second wives wait in the “small houses,” hoping for a promotion.Despite their circumstances, the characters in An Elegy for Easterly are more than victims—they are all too human, with as much capacity to inflict pain as to endure it. They struggle with the larger issues common to all people everywhere: failed promises, unfulfilled dreams, and the yearning for something to anchor them to life.At the sound of the last post --An elegy for Easterly --The annex shuffle --Something nice from London --In the heart of the Golden Triangle --The Mupandawana dancing champion --Our man in Geneva wins a million euros --The maid from Lalapanzi --Aunt Juliana's Indian --The cracked, pink lips of Rosie's bridegroom --My cousin-sister Rambanai --The negotiated settlement --Midnight at the Hotel California

    . . one of the continent's greatest living writers" (The Guardian).It's not easy being Tokumisa Nzambe po Mose yamoyindo abotami namboka ya Bakoko. There's that long name of his for a start, which means, "Let us thank God, the black Moses is born on the lands of the ancestors." Most people just call him Moses. Then there's the orphanage where he lives, run by a malicious political stooge, Dieudonne Ngoulmoumako, and where he's terrorized by two fellow orphans--the twins Songi-Songi and Tala-Tala.But after Moses exacts revenge on the twins by lacing their food with hot pepper, the twins take Moses under their wing, escape the orphanage, and move to the bustling port town of Pointe-Noire, where they form a gang that survives on petty theft. What follows is a funny, moving, larger-than-life tale that chronicles Moses's ultimately tragic journey through the Pointe-Noire underworld and the politically repressive world of Congo-Brazzaville in the 1970s and 80s.Mabanckou's vivid portrayal of Moses's mental collapse echoes the work of Hugo, Dickens, and Brian DePalma's Scarface, confirming Mabanckou's status as one of our great storytellers. Black Moses is a vital new extension of his cycle of Pointe-Noire novels that stand out as one of the grandest, funniest, fictional projects of our time.

    Here begins the story of a small African nation, told by a swarm-like chorus that calls itself man’s greatest nemesis. In 1904, in a smoky room at the hotel across the river, an Old Drifter named Percy M. Clark, foggy with fever, makes a mistake that entangles the fates of an Italian hotelier and an African busboy. This sets off a cycle of unwitting retribution between three Zambian families (black, white, brown) as they collide and converge over the course of the century, into the present and beyond. As the generations pass, their lives – their triumphs, errors, losses and hopes – form a symphony about what it means to be human.From a woman covered with hair and another plagued with endless tears, to forbidden love affairs and fiery political ones, to homegrown technological marvels like Afronauts, microdrones and viral vaccines – this novel sweeps over the years and the globe.

    They have only one desire: to make a fortune by exploiting the mineral wealths of the country. They work during the day in mining concession and, as soon as night falls, they go out to get drunk, dance, eat and abandon themselves in Tram 83, the only night-club of the city, the den of all the outlaws: ex children-soldiers, prostitutes, blank students, unmarried mothers, sorcerers' apprentices …Lucien, a professional writer, fleeing the exactions and the censorship, finds refuge in the city thanks to Requiem, a youth friend. Requiem lives mainly on theft and on swindle while Lucien only thinks of writing and living honestly. Around them gravitate gangsters and young girls, retired or runaway men, profit-seeking tourists and federal agents of a non-existent State.Tram 83 plunges the reader into the atmosphere of a gold rush as cynical as, sometimes, comic and colorfully exotic. It's an observation of human relationships in a world that has become a global village. It could be described as an African-rap or rhapsody novel or puzzle-novel hammered by rhythms of jazz.

    This novel is a scathing critique of the Angolan ruling elite and their fall from socialist grace.

    "Aké: The Years of Childhood" gives us the story of Soyinka's boyhood before and during World War II in a Yoruba village in western Nigeria called Aké. A relentlessly curious child who loved books and getting into trouble, Soyinka grew up on a parsonage compound, raised by Christian parents and by a grandfather who introduced him to Yoruba spiritual traditions. His vivid evocation of the colorful sights, sounds, and aromas of the world that shaped him is both lyrically beautiful and laced with humor and the sheer delight of a child's-eye view.A classic of African autobiography, "Aké" is also a transcendantly timeless portrait of the mysteries of childhood.

    A Boston ornithologist speeds through the landscape in a four-by-four chasing Arctic Terns; a schoolboy is relocated to the northernmost town of Siglufjördur to compete in a chess tournament; and a husband packs his wife off to visit her aunt in Sweden. Despite the desolation of their surroundings, the characters encounter strange company: ghostly presences in the early hours, enviable neighbors, and fellow writers with remarkably similar ambitions. Plotting a constellation of singular, glittering images that are rendered nonetheless complete, this magnificent compilation intersects the paths of its characters, who are at once isolated in their individual pursuits and yet connected in the vast realm of dreams.

    Day after day he attends funerals in the townships, dressed with dignity in a threadbare suit, cape, and battered top hat, to comfort the grieving families of the victims of the city's crime, racial hatred, and crippling poverty. At a Christmas day funeral for a young boy Toloki is reunited with Noria, a woman from his village. Together they help each other to heal the past, and as their story interweaves with those of their acquaintances this elegant short novel provides a magical and painful picture of South Africa today.

    For Fauziya Kassindja, an idyllic childhood in Togo, West Africa, sheltered from the tribal practices of polygamy and genital mutilation, ended with her beloved father's sudden death.  Forced into an arranged marriage at age seventeen, Fauziya was told to prepare for kakia, the ritual also known as female genital mutilation.  It is a ritual no woman can refuse.  But Fauziya dared to try.  This is her story--told in her own words--of fleeing Africa just hours before the ritual kakia was to take place, of seeking asylum in America only to be locked up in U.S.  prisons, and of meeting Layli Miller Bashir, a law student who became Fauziya's friend and advocate during her horrifying sixteen months behind bars.  Layli enlisted help from Karen Musalo, an expert in refugee law and acting director of the American University International Human Rights Clinic.  In addition to devoting her own considerable efforts to the case, Musalo assembled a team to fight with her on Fauziya's behalf.  Ultimately, in a landmark decision in immigration history, Fauziya Kassindja was granted asylum on June 13, 1996.  Do They Hear You When You Cry is her unforgettable chronicle of triumph.

    To gain access to privileged French society, he must reject his many identities – Jew, Arab, and African. But, on the eve of World War II, he is forced to come to terms with his loyalties and his past.

    These short stories are all set in Mozambique.

    It’s essential reading.” —Joann Sfar, cartoonist of The Rabbi’s Cat Ivory Coast, 1978. It’s a golden time, and the nation, too—an oasis of affluence and stability in West Africa—seems fueled by something wondrous. Aya is loosely based upon Marguerite Abouet’s youth in Yop City. It is the story of the studious and clear-sighted nineteen-year-old Aya, her easygoing friends Adjoua and Bintou, and their meddling relatives and neighbors. It’s a wryly funny, breezy account of the simple pleasures and private troubles of everyday life in Yop City. Clément Oubrerie’s warm colors and energetic, playful line connect expressively with Marguerite Abouet’s vibrant writing. This reworked edition offers readers the chance to immerse themselves in Abouet’s Yop City, bringing together the first three volumes of the series in Book One. Drawn & Quarterly will release volumes four through six of the original French series (as yet unpublished in English) in Book Two. Aya is the winner of the Best First Album award at the Angoulême International Comics Festival, the Children’s Africana Book Award, and the Glyph Award; was nominated for the Quill Award, the YALSA’s Great Graphic Novels list, and the Eisner Award; and was included on “best of” lists from The Washington Post, Booklist, Publishers Weekly, and School Library Journal.

    It won the Ahmadou-Kourouma Prize in 2016.Everything changes for Rayhana when foreigners with strange machines arrive to mine for metal near her Bedouin camp. One of them is the enigmatic Yahya. Rayhana’s association with him leads to her abandoning all she knows and fleeing alone to the city. When her tribe discover she’s stolen their sacred drum they pursue her to exact their revenge. Though Rayhana has her own missing person to seek.The Desert and the Drum tells of Rayhana’s rift with her family, the disturbing characters she encounters in the metropolis, her attempts to separate friend from foe and to find a place for herself amidst the contradictions of contemporary Mauritania.