She traveled alone across the dangerous Somali desert to Mogadishu — the first leg of a remarkable journey that would take her to London, where she worked as a house servant; then to nearly every corner of the globe as an internationally renowned fashion model; and ultimately to New York City, where she became a human rights ambassador for the U.N. Desert Flower is her extraordinary story.

    When he is angry, clouds darken. When he cries, rivers burst their banks. And when he touches a basketball, deities want courtside seats. Half Nigerian mortal, half Grecian God: Demi is the Half-God of Rainfall.His mother, Modupe, looks on with a mixture of pride and worry. From close encounters, she knows that Gods are just like men: the same fragile egos, the same subsequent fury, the same sense of entitlement to the bodies of mortals. The Gods will one day tire of sports fans, their fickle allegiances and their prayers to Demi.And when that moment comes, it won’t matter how special he is. Only the women in Demi’s life, the mothers, the Goddesses, will stand between him and a lightning bolt.

    Gradually it becomes apparent that the local church men have been using the local girls for their own purposes. This novel is a biting critique of colonial life and missionary activity.

    This debut short story collection by award-winning author Nnedi Okorafor includes notable previously-published short work, a new novella co-written with New York Times bestselling author Alan Dean Foster, and a brief foreword by Whoopi Goldberg.

    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.

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

    "A rare playwright, who could be a primary candidate for either the Nobel Prize in Literature or the Nobel Peace Prize."--Mel Gussow, The New Yorker

    Now available in paperback, this collection of three long stories, three short ones, and a theoretical postface by one of North Africa's leading writers depicts the plight of urban Algerian women who have thrown off the shackles of colonialism only to face a postcolonial regime that denies and subjugates them even as it celebrates the liberation of men. Denounced in Algeria for its political criticism, Djebar's book quickly sold out its first printing of 15,000 copies in France and was hugely popular in Italy. Her stylistically innovative, lyrical stories address the cloistering of women, the implications of reticence, the connection of language to oppression, and the impact of war on both women and men. The Afterword by Clarisse Zimra includes an illuminating interview with Djebar.

    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.

    It is an incisive examination of the problems of independence and freedom in post-colonial Africa states, where few believe they have a stake in the future. In the words of one of the characters: "It was better while we waited. Now we have nothing to look forward to. We have killed our past and are busy killing our future." Francis Imbuga is a playwright and actor. He is the recipient of the Kenya National Academy of Sciences Distinguished Professional Award in Play Writing.

    Creation myths tell us how the land, its animals, and its people all came into existence under a punishing sun or against the backdrop of a spectacularly beautiful mountain landscape. Whether warning children about the dangers of disobedience or demonstrating that the underdog can, and often does, win, these stories, through their depiction of wise animals as well as evil monsters, are universal in their portrayal of humanity, beasts, and the mystical. Translated from their original languages—Karanga, Nguni, Xhosa, and many others—these folktales are a testament to the craft of storytelling and the power of myth.

    Possessed of an extraordinary imagination, she has a hard time fitting in at school. It is only when she visits Nigeria for the first time that she makes a friend who understands her: a ragged little girl named TillyTilly. But soon TillyTilly’s visits become more disturbing, until Jess realizes she doesn’t actually know who her friend is at all. Drawing on Nigerian mythology, Helen Oyeyemi presents a striking variation on the classic literary theme of doubles — both real and spiritual — in this lyrical and bold debut.

    When her husband decides to run in the next election, these shadows threaten to consume her home. Unable to bear this darkness,Kavata plots to escape. As her family falls apart, so too does her country. In the wake of Kenya’s post-election turmoil, Kavata and her family must find their way back to each other across a landscape of wide-spread confusion, desperation, and heartrending loss. Koinange explores the long reaching effects of colonisation and corruption within the context of a singular household and the disparate experiences of class and clan they encapsulate.

    Focusing on the magical folktales of West Africa, Babalola also reimagines Greek myths, ancient legends from the Middle East, and stories from long-erased places.With an eye towards decolonizing tropes inherent in our favorite tales of love, Babalola has created captivating stories that traverse across perspectives, continents, and genres.

    A renowned surgeon and failed husband, he succumbs suddenly at dawn outside his home in suburban Accra. The news of Kweku’s death sends a ripple around the world, bringing together the family he abandoned years before. Ghana Must Go is their story. Electric, exhilarating, beautifully crafted, Ghana Must Go is a testament to the transformative power of unconditional love, from a debut novelist of extraordinary talent.  Moving with great elegance through time and place, Ghana Must Go charts the Sais’ circuitous journey to one another. In the wake of Kweku’s death, his children gather in Ghana at their enigmatic mother’s new home. The eldest son and his wife; the mysterious, beautiful twins; the baby sister, now a young woman: each carries secrets of his own. What is revealed in their coming together is the story of how they came apart: the hearts broken, the lies told, the crimes committed in the name of love. Splintered, alone, each navigates his pain, believing that what has been lost can never be recovered—until, in Ghana, a new way forward, a new family, begins to emerge.Ghana Must Go is at once a portrait of a modern family, and an exploration of the importance of where we come from to who we are. In a sweeping narrative that takes us from Accra to Lagos to London to New York, Ghana Must Go teaches that the truths we speak can heal the wounds we hide.