She is sheltered and self-involved, until the spirit of an Indian woman warrior enters her being, then she dares to join a revolutionary movement against a violent dictator and—through the power of love—finds the courage to act.

    Here, the men and women speak the language of the forest, drink aphrodisiacs with their palm wine and walk alongside the spirits of their ancestors. The discovery of sinister remains; possibly human, definitely 'evil'; in a vanished man's hut brings the modern world into the village in the form of Kayo; a young forensic pathologist convinced that scientific logic can shatter even the most inexplicable of mysteries.But as events in the village become more and more incomprehensible, Kayo and his sidekick, Constable Garba, find that Western logic and political bureaucracy are no longer equal to the task in hand. Strange boys wandering in the forest, ghostly music in the night and a flock of birds that come from far away to fill the desolate hut with discarded feathers take the newcomers into a world where, in the unknown, they discover a higher truth that leaves scientific explanations far behind.Tail of the Bluebird is a story of the mystical heart of Africa, of the clash and clasp between old and new worlds. Lyrically beautiful, at once uncanny and heart-warmingly human, this is a story that tells us that at the heart of modern man there remains the capacity to know the unknowable.

    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.