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.

    Gbessa, exiled from the West African village of Lai, is starved, bitten by a viper, and left for dead, but still she survives. June Dey, raised on a plantation in Virginia, hides his unusual strength until a confrontation with the overseer forces him to flee. Norman Aragon, the child of a white British colonizer and a Maroon slave from Jamaica, can fade from sight when the earth calls him. When the three meet in the settlement of Monrovia, their gifts help them salvage the tense relationship between the African American settlers and the indigenous tribes, as a new nation forms around them.Moore’s intermingling of history and magical realism finds voice not just in these three characters but also in the fleeting spirit of the wind, who embodies an ancient wisdom. “If she was not a woman,” the wind says of Gbessa, “she would be king.” In this vibrant story of the African diaspora, Moore, a talented storyteller and a daring writer, illuminates with radiant and exacting prose the tumultuous roots of a country inextricably bound to the United States. She Would Be King is a novel of profound depth set against a vast canvas and a transcendent debut from a major new author.

    Hasan struggles to keep his family business afloat following the sudden death of his wife. As he begins to put his shattered life back together piece by piece, a new regime seizes power, and a wave of rising prejudice threatens to sweep away everything he has built.Present-day LONDON. Sameer, a young high-flying lawyer, senses an emptiness in what he thought was the life of his dreams. Called back to his family home by an unexpected tragedy, Sameer begins to find the missing pieces of himself not in his future plans, but in a heritage he never knew.Moving between two continents over a troubled century, We Are All Birds of Uganda is an immensely resonant novel that explores racial tensions, generational divides and what it means to belong.

    It is the winner of the Noma Award.

    It is 1988 and Hargeisa waits. Whispers of revolution travel on the dry winds but still the dictatorship remains secure. Soon, and through the eyes of three women, we will see Somalia fall. Nine-year-old Deqo has left the vast refugee camp she was born in, lured to the city by the promise of her first pair of shoes.Kawsar, a solitary widow, is trapped in her little house with its garden clawed from the desert, confined to her bed after a savage beating in the local police station.Filsan, a young female soldier, has moved from Mogadishu to suppress the rebellion growing in the north.And as the country is unravelled by a civil war that will shock the world, the fates of the three women are twisted irrevocably together.Intimate, frank, brimming with beauty and fierce love, The Orchard of Lost Souls is an unforgettable account of ordinary lives lived in extraordinary times.

     In a far future, post-nuclear-holocaust Africa, genocide plagues one region. The aggressors, the Nuru, have decided to follow the Great Book and exterminate the Okeke. But when the only surviving member of a slain Okeke village is brutally raped, she manages to escape, wandering farther into the desert. She gives birth to a baby girl with hair and skin the color of sand and instinctively knows that her daughter is different. She names her daughter Onyesonwu, which means "Who Fears Death?" in an ancient African tongue. Reared under the tutelage of a mysterious and traditional shaman, Onyesonwu discovers her magical destiny – to end the genocide of her people. The journey to fulfill her destiny will force her to grapple with nature, tradition, history, true love, the spiritual mysteries of her culture – and eventually death itself.

    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.

    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...

    Uniquely and richly African, at the same time it reveals Achebe's keen awareness of the human qualities common to men of all times and places.

    An adoring little sister, their traditional parents, and a host of aunties and cousins make Morayo's home their own. So there's nothing unusual about her charming but troubled cousin Bros T moving in with the family. At first Morayo and her sister are delighted, but in her innocence, nothing prepares Morayo for the shameful secret Bros T forces upon her. Thrust into a web of oppressive silence woven by the adults around her, Morayo must learn to fiercely protect herself and her sister from a legacy of silence many women in Morayo's family share. Only Aunty Morenike—once shielded by her own mother—provides Morayo with a safe home and a sense of female community that sustains her as she grows into a young woman in bustling, politically charged, often violent Nigeria.

    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.

    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.

    With almost 25 000 sales this award-winning title cemented her position as one of South Africa's bestselling authors. With her follow-up novel, Spilt Milk, Kopano continued to amaze us with her ability to intimately address complex political issues through relatable characters. This year she brings us her best novel yet, Period Pain; a compelling story about how the broken continue to survive. In Period Pain she has poignantly captured the heartache and confusion of so many South Africans who feel defeated by the litany of headline horrors: xenophobia, corrective rape, corruption and crime and for many the death sentence that is the public health nightmare. Through this story we are able to reflect, to question and to rediscover our humanity. Kopano is a brand in her own right, and to celebrate her latest release all three of her titles will be re-branded and jacketed. Look out for the epitome of #BlackGirlMagic.

    She is tall and beautiful and in love with a rich man’s son.Educated and privileged, Julie is a modern woman. Living on her own, she is happy to collect the gold jewellery lovestruck Eugene brings her, but has no intention of becoming his second wife.When a kidnapping forces Nwabulu and Julie into a dank room years later, the two women relate the stories of their lives as they await their fate.Pulsing with vitality and intense human drama, Cheluchi Onyemelukwe-Onuobia’s debut is set against four decades of vibrant Nigeria, celebrating the resilience of women as they navigate and transform what remains a man’s world.

    Mostly women, black and British, they tell the stories of their families, friends and lovers, across the country and through the years.Joyfully polyphonic and vibrantly contemporary, this is a gloriously new kind of history, a novel of our times: celebratory, ever-dynamic and utterly irresistible.