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

    Some of his troubles are self-inflicted: like his recurring entanglements in love triangles; and his unauthorised joyriding of a customer’s car which sets off a chain of dire events involving drugs, crooked politicians, and assassins. Other troubles are caused by the panorama of characters in his life, like: his sister and her dysfunctional domestic situation; the three other mechanics he employs; and the money-loving preacher who has all but taken over his home. The story is fast-paced with surprising twists and a captivating plot - a Dickenesque page-turner. This is Ebinimi’s story but it is about a lot more than him. It is an exploration of the dynamics between working-class people as they undertake a colourful tour of Yenagoa, one of Nigeria’s lesser-known cities, while using humour, sex, and music, as coping mechanisms for the everyday struggle. It is a modern-classic tale of small lives navigating a big city.

    Dusman Gonzaga lives in a squalid tenement building overrun with cockroaches and inhabited by strange characters. His is a world of poverty, fights, bar women and visits to a doctor who doesn't understand him.

    Mai Sunsaye, the hero of the story, is afflicted with the sokugo, wandering sickness.

    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.

    Douye aka Doughboy the career militant responsible for the crime. Amaibi the gentle university professor / eco-warrior accused. Kaniye the lawyer turned restaurateur who tries to get him off and Tubo an amoral oil company executive. Against a backdrop of corrupt practises, failed systems and injustice, these four friends tell the story of oil in a region and its effects on local communities and the Nigerian larger society.Chimeka Garricks in his extraordinary debut novel has written a frank and moving story about the realities of contemporary Nigeria. The evil long term effects of military rule resulting in the fragmentation and break down of moral values. His story paints a realistic picture of the very high price corruption exacts on a society and how no one is immune from its consequences.Chimeka has written a remarkable book; honest, insightful and tragic – Jude Dibia author of Blackbird.The book is absolute genius. Well researched, crisp lines, excellent and vivid dialogue, well developed characters. - Jekwu Ozoemene, author of The Anger of Unfulfillment.Tomorrow Died Yesterday is a chronicle of a region in turmoil, of a generation caught between the expectations of their parents and the depreciations of the Nigerian situation, each of these four men navigate their issues in different ways, and in their own voices. Mr Garricks is a new literary voice; unheralded, fresh, honest, unshorn of superficial flourish. Well worth the read. – Eghosa Imasuen, author of Fine Boys.Tomorrow Died Yesterday is a story of action and consequence, lies and love, greed and lust, the power of the truth and most poignantly, redemption. In a John Grisham-esque storytelling style, Chimeka Garricks carries the reader from the present to the past and back again in a seamless blend of storytelling, from the swamps of the Niger Delta to its courtrooms with some action, humour, suspense and just the right amount of romance thrown in. Tomorrow Died Yesterday is a novel by a Nigerian about Nigeria for the entire world. All in all, it is an impressive debut for a writer. - Seun Odukoya, reviewer www.naijastories.com

    A collection of short stories, structured as case-studies, and a form of love letter in solidarity with the women who have survived romantic relationships with men in Lagos….it deftly analyses the various archetypes women are likely to encounter in the dating scene in the city – from serial cheaters, to mummy’s boys, from the ‘fake it till you make it’ adherents to the ones who can’t commit.This book underscores with wit, humour, wisdom, and sensitivity the perils of trying to find lasting love and companionship in Africa’s craziest city that will prove universal and illuminating.Nearly All The Men In Lagos Are Mad quantity

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

    Coetzee, Ali Smith and Aminatta Forna, Leila Aboulela's Elsewhere, Home offers us a rich tableau of life as an immigrant abroad, attempting to navigate the conflicts of assimilation and difference in an unfamiliar world. A young woman's encounter with a former classmate elicits painful reminders of her former life in Khartoum. A wealthy Sudanese student in Aberdeen begins an unlikely friendship with a Scottish man. A woman experiences an evolving relationship to her favourite writer, whose portrait of their shared culture both reflects and conflicts with her own sense of identity. Shuttling between the dusty, sun-baked streets of Khartoum and the university halls and cramped apartments of Aberdeen and London, Elsewhere, Home explores, with subtlety and restraint, the profound feelings of yearning, loss and alienation that come with leaving one's homeland in pursuit of a different life.

    He has gone on to become one of the most powerful voices for cultural freedom on the whole of the African continent today. Ndebele evokes township life with humor and subtlety, rejecting the image of black South Africans as victims and focusing on the complexity and fierce energy of their lives. "Our literature," says Ndebele, "ought to seek to move away from an easy preoccupation with demonstrating the obvious existence of oppression. It exists. The task is to explore how and why people can survive under such harsh conditions." About Njabulo Ndebele: now Chancellor of Witwatersrand University in South Africa. Ndebele began publishing these stories from exile in Lesotho during the 1980s. Ndebele is now recognised as a major voice in South Africa's cultural life. This is his only fiction collection available in Europe or North America. Ndebele's stories first began appearing in Staffrider magazine, an innovative publishing venture linked to the Soweto branch of South African PEN. Founded after the bloody Soweto riots of the mid-1970s, the magazine took as its symbol the staffriders, un-ticketed commuters from the black townships who every day clung onto or balanced on top of buses and trains to get into the cities to work. Staffrider magazine, and in particular Ndebele's stories, helped define a new tone in black South African literature that went beyond and finally overcame apartheid.

    In "Some Are Born to Sweet Delight, " a girl's innocent love for an enigmatic foreign lodger in her parents' home leads her to involve others in a tragedy of international terrorism. "The Moment Before the Gun Went Off" reveals the strange mystery behind an accident in which a white farmer has killed a black boy. "Once Upon a Time" is a horrifying fairy tale about a child raised in a society founded on fear.

    She analyses African women's struggle to find their rightful place in society. Her stories raise issues of choice and conflict, teasing about the issues with disarming frankness. How do people behave in cross-cultural relationships? In the modern world, where a plastic label identifies us, what is our identity? Will African women be in the driving seat in the twenty-first century? With the zest and humour, Aidoo raises these questions and provides some challenging answers.In this collection of short stories, Aidoo elevates the mundane in women's lives to an intellectual level in an attempt at challenging patriarchal structures and dominance in African society. Written from a child's perspective, Aidoo subverts the traditional beliefs and assumptions about the child's voice. Her inimitable sense of style and eloquence, explores love, marriage and relationships with all the issues they throw up for the contemporary African woman. In doing so, she manages to capture the very essence of womanhood.

    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

    But when his embittered spinster daughter Magda feels shamed, this lurch across the racial divide marks the end of a tenuous feudal peace. As she dreams madly of bloody revenge, Magda's consciousness starts to drift and the line between fact and the workings of her excited imagination becomes blurred. What follows is the fable of a woman's passionate, obsessed and violent response to an Africa that will not heed her.

    Presenting a diverse and dazzling collection from all over the continent - from Morocco to Zimbabwe, Uganda to Kenya - Habila has focused on younger, newer writers, contrasted with some of their older, more established peers, to give a fascinating picture of a new and more liberated Africa.Disdaining the narrowly nationalist and political preoccupations of previous generations, these writers are characterized by their engagement with the wider world and the opportunities offered by the internet, the end of apartheid, the end of civil wars and dictatorships, and the possibilities of free movement around the world. Many of them live outside Africa. Their work is inspired by travel and exile. They are liberated, global and expansive. As Dambudzo Marechera wrote: 'If you're a writer for a specific nation or specific race, then f*** you." These are the stories of a new Africa, punchy, self-confident and defiant.Includes stories by:Rachida el-Charni; Henrietta Rose-Innes; George Makana Clark; Ivan Vladislavic; Mansoura Ez-Eldin; Fatou Diome; Aminatta Forna; Manuel Rui; Patrice Nganang; Leila Aboulela; Zoe Wicomb; Alaa Al Aswany; Doreen Baingana; E.C. Osondu