But gradually, as Sebald's precise, almost dreamlike prose begins to draw their stories, the four narrations merge into one overwhelming evocation of exile and loss.Written with a bone-dry sense of humour and a fascination with the oddness of existence The Emigrants is highly original in its heady mix of fact, memory and fiction and photographs.

    Nidali mixes humor with a sharp, loving portrait of an eccentric middle-class family, and this perspective keeps her buoyant through the hardships she encounters: the humiliation of going through a checkpoint on a visit to her father’s home in the West Bank; the fights with her father, who wants her to become a famous professor and stay away from boys; the end of her childhood as Iraq invades Kuwait on her thirteenth birthday; and the scare she gives her family when she runs away from home. Funny, charming, and heartbreaking, A Map of Home is the kind of book Tristram Shandy or Huck Finn would have narrated had they been born Egyptian-Palestinian and female in the 1970s.

    Yet for her, headline events were only the backdrop to a less obvious but more enduring drama: the daily life of Muslim women. Nine Parts of Desire is the story of Brooks' intrepid journey toward an understanding of the women behind the veils, and of the often contradictory political, religious, and cultural forces that shape their lives. Defying our stereotypes about the Muslim world, Brooks' acute analysis of the world's fastest growing religion deftly illustrates how Islam's holiest texts have been misused to justify repression of women, and how male pride and power have warped the original message of a once liberating faith.

    Afaf Rahman, the daughter of Palestinian immigrants, is the principal of Nurrideen School for Girls, a Muslim school in the Chicago suburbs. One morning, a shooter—radicalized by the online alt-right—attacks the school.As Afaf listens to his terrifying progress, we are swept back through her memories: the bigotry she faced as a child, her mother’s dreams of returning to Palestine, and the devastating disappearance of her older sister that tore her family apart. Still, there is the sweetness of the music from her father’s oud, and the hope and community Afaf finally finds in Islam.The Beauty of Your Face is a profound and poignant exploration of one woman’s life in a nation at odds with its ideals.

    Written by a young man in detention, the prose moves from prison life, to adolescent memories, to frightening hallucinations, and what emerges is a portrait of life in Saddam Hussein’s Iraq.In the tradition of Kafka’s The Trial or Orwell’s 1984, I’jaam offers insight into life under an oppressive political regime and how that oppression works. This is a stunning debut by a major young Iraqi writer-in-exile.Sinan Antoon has been published in leading international journals and has co-directed About Baghdad, an acclaimed documentary about Iraq under US occupation.

    It is my intention now to take you there in this book, if you have the courage to come with me.The young life of Daoud Hari–his friends call him David–has been one of bravery and mesmerizing adventure. He is a living witness to the brutal genocide under way in Darfur.The Translator is a suspenseful, harrowing, and deeply moving memoir of how one person has made a difference in the world–an on-the-ground account of one of the biggest stories of our time. Using his high school knowledge of languages as his weapon–while others around him were taking up arms–Daoud Hari has helped inform the world about Darfur.Hari, a Zaghawa tribesman, grew up in a village in the Darfur region of Sudan. As a child he saw colorful weddings, raced his camels across the desert, and played games in the moonlight after his work was done. In 2003, this traditional life was shattered when helicopter gunships appeared over Darfur’s villages, followed by Sudanese-government-backed militia groups attacking on horseback, raping and murdering citizens and burning villages. Ancient hatreds and greed for natural resources had collided, and the conflagration spread.Though Hari’s village was attacked and destroyedhis family decimated and dispersed, he himself escaped. Roaming the battlefield deserts on camels, he and a group of his friends helped survivors find food, water, and the way to safety. When international aid groups and reporters arrived, Hari offered his services as a translator and guide. In doing so, he risked his life again and again, for the government of Sudan had outlawed journalists in the region, and death was the punishment for those who aided the “foreign spies.” And then, inevitably, his luck ran out and he was captured. . . . The Translator tells the remarkable story of a man who came face-to-face with genocide– time and again risking his own life to fight injustice and save his people.From the Hardcover edition.

    Young Lenny Sethi is kept out of school because she suffers from polio. She spends her days with Ayah, her beautiful nanny, visiting with the large group of admirers that Ayah draws. It is in the company of these working class characters that Lenny learns about religious differences, religious intolerance, and the blossoming genocidal strife on the eve of Partition. As she matures, Lenny begins to identify the differences between the Hindus, Moslems, and Sikhs engaging in political arguments all around her. Lenny enjoys a happy, privileged life in Lahore, but the kidnapping of her beloved Ayah signals a dramatic change. Soon Lenny’s world erupts in religious, ethnic, and racial violence. By turns hilarious and heartbreaking, the domestic drama serves as a microcosm for a profound political upheaval.

    A simple, apolitical man, he believes in the essential fairness of the South African government and its policies—until the sudden arrest and subsequent "suicide" of a black janitor from Du Toit's school. Haunted by new questions and desperate to believe that the man's death was a tragic accident, Du Toit undertakes an investigation into the terrible affair—a quest for the truth that will have devastating consequences for the teacher and his family, as it draws him into a lethal morass of lies, corruption, and murder.

    Her novels evoke both the clearly delineated hierarchies of colonial Jamaica and the subtleties of present-day island life. Nowhere is her power felt more than in Clare Savage, her Jamaican heroine, who appeared, already grown, in No Telephone to Heaven. Abeng is a kind of prequel to that highly-acclaimed novel and is a small masterpiece in its own right. Here Clare is twelve years old, the light-skinned daughter of a middle-class family, growing up among the complex contradictions of class versus color, blood versus history, harsh reality versus delusion, in a colonized country. In language that surrounds us with a richness of meaning and voices, the several strands of young Clare's heritage are explored: the Maroons, who used the conch shell—the abeng—to pass messages as they fought a guerilla struggle against their English enslavers; and the legacy of Clare's white great-great-grandfather, Judge Savage, who burned his hundred slaves on the eve of their emancipation. A lyrical, explosive coming-of-age story combined with a provocative retelling of the colonial history of Jamaica, this novel is a triumph.

    Amabelle Desir, Haitian-born and a faithful maidservant to the Dominican family that took her in when she was orphaned, and her lover Sebastien, an itinerant sugarcane cutter, decide they will marry and return to Haiti at the end of the cane season. However, hostilities toward Haitian laborers find a vitriolic spokesman in the ultra-nationalist Generalissimo Trujillo who calls for an ethnic cleansing of his Spanish-speaking country. As rumors of Haitian persecution become fact, as anxiety turns to terror, Amabelle and Sebastien's dreams are leveled to the most basic human desire: to endure. Based on a little-known historical event, this extraordinarily moving novel memorializes the forgotten victims of nationalist madness and the deeply felt passion and grief of its survivors.

    Surrounded by men and women whose skills–as doctors, nurses, and therapists–seemed eminently more practical than her own, Rodriguez, a hairdresser and mother of two from Michigan, despaired of being of any real use. Yet she soon found she had a gift for befriending Afghans, and once her profession became known she was eagerly sought out by Westerners desperate for a good haircut and by Afghan women, who have a long and proud tradition of running their own beauty salons. Thus an idea was born. With the help of corporate and international sponsors, the Kabul Beauty School welcomed its first class in 2003. Well meaning but sometimes brazen, Rodriguez stumbled through language barriers, overstepped cultural customs, and constantly juggled the challenges of a postwar nation even as she learned how to empower her students to become their families’ breadwinners by learning the fundamentals of coloring techniques, haircutting, and makeup.Yet within the small haven of the beauty school, the line between teacher and student quickly blurred as these vibrant women shared with Rodriguez their stories and their hearts: the newlywed who faked her virginity on her wedding night, the twelve-year-old bride sold into marriage to pay her family’s debts, the Taliban member’s wife who pursued her training despite her husband’s constant beatings. Through these and other stories, Rodriguez found the strength to leave her own unhealthy marriage and allow herself to love again, Afghan style.With warmth and humor, Rodriguez details the lushness of a seemingly desolate region and reveals the magnificence behind the burqa. Kabul Beauty School is a remarkable tale of an extraordinary community of women who come together and learn the arts of perms, friendship, and freedom.From the Hardcover edition.

    The Beautyful Ones Are Not Yet Born is the novel that catapulted Ayi Kwei Armah into the limelight. The novel is generally a satirical attack on the Ghanaian society during Kwame Nkrumah’s regime and the period immediately after independence in the 1960s. It is often claimed to rank with Things Fall Apart as one of the high points of post-colonial African Literature.

    But her quiet life is shattered when her husband, Kamal, is found brutally murdered with a hatchet in the courtyard of their home. Nearly catatonic with shock, Zeba is unable to account for her whereabouts at the time of his death. Her children swear their mother could not have committed such a heinous act. Kamal’s family is sure she did, and demands justice. Barely escaping a vengeful mob, Zeba is arrested and jailed.Awaiting trial, she meets a group of women whose own misfortunes have led them to these bleak cells: eighteen-year-old Nafisa, imprisoned to protect her from an “honor killing”; twenty-five-year-old Latifa, a teen runaway who stays because it is safe shelter; twenty-year-old Mezghan, pregnant and unmarried, waiting for a court order to force her lover’s hand. Is Zeba a cold-blooded killer, these young women wonder, or has she been imprisoned, like them, for breaking some social rule? For these women, the prison is both a haven and a punishment; removed from the harsh and unforgiving world outside, they form a lively and indelible sisterhood.Into this closed world comes Yusuf, Zeba’s Afghan-born, American-raised lawyer whose commitment to human rights and desire to help his homeland have brought him back. With the fate this seemingly ordinary housewife in his hands, Yusuf discovers that, like the Afghanistan itself, his client may not be at all what he imagines.A moving look at the lives of modern Afghan women, The House with No Windows is astonishing, frightening, and triumphant.

    The journey took him to a small village in Egypt, where medieval customs coexist with twentieth-century desires and discontents. But even as Ghosh sought to re-create the life of his Indian predecessor, he found himself immersed in those of his modern Egyptian neighbors.Combining shrewd observations with painstaking historical research, Ghosh serves up skeptics and holy men, merchants and sorcerers. Some of these figures are real, some only imagined, but all emerge as vividly as the characters in a great novel. In an Antique Land is an inspired work that transcends genres as deftly as it does eras, weaving an entrancing and intoxicating spell.

    Exploring once again the dilemma of the outsider in an alien society, and the gap in understanding between cultures—recurrent themes of Paul Bowles's writings—The Spider's House is dramatic, brutally honest, and shockingly relevant to today's political situation in the Middle East and elsewhere.