It is the heyday of apartheid. Although not a word is exchanged, a strong erotic bond develops between the two of them, culminating in what is later seen as a rape and for which the narrator gets the death sentence. In an absolute tour de force the narrator, only ever referred to as Mr Sibiya, waiting to be executed, writes down his story - reconstructing bit by bit not only his own and a brief history of his family, but also his obsession with the white girl, the court proceedings, and his encounters with Dr Dufre, a Swiss criminologist who has been granted permission of compile a dossier of the case. One of the most remarkable things about the novel is the narrator's ability to be objective, to view himself and the series of events almost dispassionately.

    Suddenly, no amount of cocktails can cure the stress that simultaneously unsettles their lives. Nandi’s final wedding arrangements are nearly in place so why is she feeling on edge? Zaza, the “trophy wife”, waits for the day her affair comes to light and her husband gives her a one-way ticket back to the township. Tumi has only one wish to complete her perfect life – a child. But when her wish is granted, it’s not exactly how she pictured it. And Princess? For the first time ever, she has fallen in love – with Leo, a painter who seems to press all the right buttons. But soon she discovers – like her friends already have – that life is not a bed of roses, and happiness never comes with a manual . . .

    So begins Girl, Edna O'Brien's harrowing portrayal of the young women abducted by Boko Haram. Set in the deep countryside of northeast Nigeria, this is a brutal story of incarceration, horror, and hunger; a hair-raising escape into the manifold terrors of the forest; and a descent into the labyrinthine bureaucracy and hostility awaiting a victim who returns home with a child blighted by enemy blood.

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    The middle-class pair become victims of the same brutal violence that the poor and powerless suffer.

    A portrayal of contemporary Ghanian urban society and working class lives.

    Their choices affect their families, the people they love, and the course of their lives. Their stories start before the events in Sudan touch them, following them through challenges and triumphs, as they rebuild their lives. What they have in common with the rest of us is that their journeys are about finding out what kind of people they are: Should they try to draw strength from their anger or should they let it go? Is it better to stick with what you know or find the courage to change?

    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.

    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

    Settler wagons in their hundreds left the safety of the Cape Colony; generations on, their descendents are still fighting to keep a land they love...... "For that smallest of moments the two men stared at each other. Between them flew a hundred years, a thousand reasons. Ancient prophecies, the creak of wagons over rough ground and a woman's yearning for infinite horizons, the strengthening of one man's belief and the imminent death of another."From Rhodesia's final years, the clock turns back to the windswept, dusty streets of Kimberley’s infamous diamond fields. For Catherine Goddard and her son, Mathew, their decision to cross the Limpopo as part of a settler wagon train is one borne of desperation and a boy's need to be reunited with his father. For three months their ox-drawn trek wagon stands as their only defence against the African wilderness and the bloodlust of Lobengula Khumalo’s warring impis.Throughout the passage of a hundred years, three racially divided families are fatefully drawn together. Dynasties are shaped and smashed by kings, warrior chiefs and the indomitable lust for power and wealth by men like Cecil Rhodes and the perpetrators of Zimbabwe’s chaotic new order.From the latter part of the nineteenth century, Sons of Africa runs inexorably to the demise of Rhodesia’s white minority rule and the emergence of the new Zimbabwe.

    A. riots of the 1990s.Straight's brilliant story of the effects of violence in America on three generations of a family is told through the lives of the Thompsons, a large clan who live in Treetown, above downtown Rio Seco, California, and operate a car towing and repair business. Patriarch Hosea is a proud man, and a hardened one, whose father was killed in the violence that erupted in Tulsa many years earlier. All Hosea's memories come flooding black with ferocious force when the bodies of two white women are found engulfed in flames in an abandoned car on his property. These are the first signs that someone wants Hosea off his land; it is up to his son Marcus, the only one of the six children of Hosea and his half-Mexican wife who can negotiate with the white world, to help the family hold on to their home and their livelihood.But it is only when Marcus' nephew Motrice-a young man infatuated with guns and the power that they bring- comes back to Rio Seco from gang-ridden Los Angeles that the real secrets of the bodies found on Thompson land are revealed, as Rio Seco erupts in the same wave of trashing and looting that has engulfed the nearby metropolis.The Gettin Place is a powerful portrait of a family struggling to defend its turf in a changing world, to hold on to the gettin place, the source from which they derive the tools for survival.

    Without running water or electricity, Warri is at first a nightmare for Blessing. Her mother is gone all day and works suspiciously late into the night to pay the children's school fees. Her brother, once a promising student, seems to be falling increasingly under the influence of the local group of violent teenage boys calling themselves Freedom Fighters. Her grandfather, a kind if misguided man, is trying on Islam as his new religion of choice, and is even considering the possibility of bringing in a second wife.But Blessing's grandmother, wise and practical, soon becomes a beloved mentor, teaching Blessing the ways of the midwife in rural Nigeria. Blessing is exposed to the horrors of genital mutilation and the devastation wrought on the environment by British and American oil companies. As Warri comes to feel like home, Blessing becomes increasingly aware of the threats to its safety, both from its unshakable but dangerous traditions and the relentless carelessness of the modern world.

    As leaders of their church, The Kingdom of God, Pastor Abraham and his wife Phumla are guiding the community of Bulawayo in faith, while trying to keep the different branches of their family intact.Independent and feisty Xoliswa returns home, after a hiatus abroad, hoping for a fresh start and a chance to steer the family business; rebellious Yandisa has met the love of her life and is finally getting her act together; while dutiful newlywed Zandile is slowly becoming disillusioned with her happily ever after.The Mafus always present a united front, but as their personal lives unravel, devastating secrets are revealed that threaten to tear the family apart. For how long will they be able to hide behind the façade of a picture-perfect family?

    A collection of short stories written by various African writers.

    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.