Showing 1–20 of 106 results
He is always by her side. He’s got everything she needs. She strokes him lovingly and breathes in his scent. And yet she’ll eventually trade him for a new one: the lady and her handbag. In this book, Mylo Freeman introduces fifty inspiring women from all over the world. From big names such as Queen Elizabeth II, Jane Birkin and Paris Hilton, to lesser known women such as South African fasion designer Palesa Mokubung, Hello Kitty designer Yuko Yamaguchi and journalist-explorer Nellie Bly. For each of them, their handbag carries a different meaning: accessory, practical aid, feminist manifesto. However different the women and their bags, each of them are unique and a force to be reckoned with.
A moving, often provocative, and ultimately vital collection of first hand accounts of people living through the Boko Haram conflict. From abducted girls to brash soldiers, and from community leaders to simple fishermen, this collection provides an insight into the realities of those living through the conflict, making this an essential cultural archive. The World Was in Our Hands covers themes of patriarchy, the economy, climate change, and corruption, to paint a picture that is much broader than what has been captured through news coverage.
LIKE WATER LIKE SEA is an immersive novel of self-discovery, resilience, and the unifying power of love. It follows the life of Nia, a queer, bi/pansexual naturopath in London, as her life unfolds across three pivotal moments, spanning from her 28th year to a life-altering realisation at the age of 50. At the heart of this gripping narrative lies Nia’s profound encounter with grief.
A decade after the devastating loss of her sister, who tragically succumbed to suicide while battling with cyclothymia—a similar mental illness that her mother battles with—Nia’s world is forever transformed. As she grapples with the pain of her sister’s passing, Nia embarks on a poignant self-exploration, revealing grief as the ultimate manifestation of love, forever shaping our very being.
Chinua Achebe’s Things Fall Apart has been translated into over 70 languages and yet there is no authoritative Igbo translation, Achebe’s mother tongue. In the course of answering why African literature remains trapped in an English language metaphysical empire, Mũkoma wa Ngũgĩ’’s The Rise of the African Novel, becomes the first book to situate South African and African-language literature of the 1880s through the 1940s in relation to both the literature of decolonisation that emerged in the mid-to-late 20th century and those of contemporary writers such as Chimamanda Adichie, Petina Gappah and NoViolet Bulawayo.
Mũkoma wa Ngũgĩ considers the costs of locating the start of Africa’s literary tradition in the wrong historical period. He challenges the reduction of African literary studies only to writing in the English language and shows how early South African literature, in both aesthetics and politics, is in conversation with both the literature of the independence era and contemporary transnational literatures.
This seminal text in African literary studies raises questions about the very nature of African literature and criticism. It is essential reading for scholars and general readers seeking a greater understanding of Africa’s deep-rooted and variegated literary history.
“A lucid history of the African novel, emphasizing the need to consider works originally written in African languages prior to the 1950s. Ngũgĩ brings to the foreground texts that are rarely discussed, demonstrating that the history of the African novel goes beyond the well-known works in the African super-canon. His archive is wide ranging, and he reads both old and new materials with rare clarity.”
— Evan Mwangi, Northwestern University
“He provides astute analysis of writers such as Achebe, Aidoo, Adichie, Tutuola, Dangarembga, and Bulawayo…He also touches, in fascinating ways, on his own work as a writer of detective fiction. This will be a standard text and reference book on the African novel….Essential.”
— Choice Reviews Online
Hassan and Hassana are twins, and they’re practically identical. Even though one is a boy and the other a girl, ever since they were babies people have had trouble telling them apart. For their 8th birthday,Hassan gets a bike and Hassana gets drums. Hassan’s friends tell him that girls can’t ride bikes, leaving him with an important decision to make. Will he decide to share or will he let Hassana feel left out? A beautiful story about sharing, kindness and standing up for what is right.
Twin sisters Hassana and Husseina’s home is in ruins after a brutal raid. But this is not the end but the beginning of their story, one that will take them to unfamiliar cities and cultures, where they will forge new families, ward off dangers and truly begin to know themselves.
As the twins pursue separate paths in Brazil and the Gold Coast of West Africa, they remain connected through shared dreams of water. But will their fates ever draw them back together?
A sweeping adventure with richly evocative historical settings, The Deep Blue Between is a moving story of the bonds that can endure even the most dramatic change.
AND THEN HE SANG A LULLABY is a breathtaking and captivating story of two gay men who find each other in Nigeria and are determined to love despite all that stands in their way. August is a straight-passing track star who has left Enugu, his overbearing sisters, and an apathetic father to find himself at the University of Nigeria Nsukka. Segun is an openly gay student who is reluctant to fall in love with August, wanting only to be with a man who is comfortable with his sexuality and has the capacity to love without shame. But when the Same Sex (Marriage) Prohibition Act is passed, August and Segun must find a way to tend to their blossoming romance in a country determined to eradicate them. And even while they run into harshness and cruelty at the hands of people whose lives and loves are legal, the two young lovers find kindness, understanding, solace and comfort in the arms of each other and in unexpected places.
Henrietta Lacks: The Mother of Modern Medicine introduces young readers to the remarkable story of story of Henrietta Lacks, an African American woman whose cancer cells revolutionised medical science. This book charts Henrietta’s life, from her upbringing in Virginia through to the births of her five children, before she passed away aged31 from cervical cancer. Henrietta’s cells lived on, taking from her tumour while she was undergoing surgery without her knowledge, leading to the discovery of the first ‘immortal cell line’, and giving Henrietta the name ‘the mother of modern medicine’.
Birds of Our Land is a child’s guide to West African birds with the aim of introducing children to some of the many fascinating birds that they may not be familiar with. It explains the basic features of birds and key things to note in observing them and is accompanied by beautiful paintings by illustrator Robin Gowen of 25 birds representing the major species in the region.
Love Offers No Safety: Nigeria’s Queer Men Speak tells the stories of a marginalized community in their own words. These collected narratives include stories of love, heartbreak, tenderness, and struggle, and show that there is no one universal queer experience. Love Offers No Safety also serves as an exploration of what it is to be a man–how societal pressures foster toxic masculinity, and the barriers this creates for learning to understand one another, also challenges society at large to re-think its idea of what being a man entails and what this means for society itself and how such concepts limits men and women’s freedom to be, to live and to understand each other.
Ato hasn’t visited his grandmother’s house since he was seven. He’s heard the rumors that she’s a witch, and his mother has told him he must never sit on the old couch on her porch. Now here he is, on that exact couch, with a strange looking drink his grandmother has given him, wondering if the rumors are true. What’s more, there’s a freshly dug hole in her yard that Ato suspects may be a grave meant for him. Meanwhile at school, Ato and his friends have entered a competition to win entry to Nnoma, the island bird sanctuary that Ato’s father helped created.
But something is poisoning the community garden where their project is housed, and Ato sets out to track down the culprit. In doing so, he brings his estranged mother and grandmother back together, and begins healing the wounds left on the family by his father’s death years before.
When seven-year-old Jedza witnesses a tragic incident involving a train and the death of his close boyhood friend in his hometown Miner’s Drift, he is convinced that his life is haunted. Now in his mid-20s, Jedza is a down-and-out electrician, moving to Harare in the hopes that he will escape the darkness and superstitions of the small town. But living in the shadowy restless atmosphere of the Avenues with its mysterious pools of water rising under musasa trees, he is tormented by the disappearance of his sister and their early encounters with ancestral spirits, the shapeshifting power of the njuzu and a vengeful ngozi. To move forward, he must stop running away and confront the trauma of his past.
An eclectic, experimental novel, AVENUES BY TRAIN is a brash and confident debut by an exciting new voice
One morning in Paris on the way to kindergarten, a little girl asks her father “Papa, why do you dance when you walk?” The question is innocent and serious. Why does her father limp, why can’t he ride a bicycle or a scooter? Her father feels compelled to answer, to bring back the memories of his childhood in Djibouti and tell her what happened to his leg. It was a place of sunlight and dust and sickness, a sickness that made him different, unique. They called him a skinflint and a runt, but he was the smartest kid in his school.
Waberi remembers the shifting desert of Djibouti, the Red Sea, the shanty roofs of the houses in his neighborhood, an immense loneliness and some unforgettable characters: Papa-la-Tige who sold baubles to tourists, his tough, silent mother Zahra who trembled, and his grandmother nicknamed Cochise. He tells of the moment when his life changed forever and the ensuing struggle that made him a man, a man who knows the value of poetry, silence and freedom, a man who is still dancing.
8 year-old Obioma is a football star. She uses a special stick to score goals and never loses a race in her wheelchair! But when she moves to a new city, she has to go to a new school where she has no friends, and everyone calls her “the girl with the wheelchair”. Obioma misses playing football most of all, until one day a girl named Ayana asks her to race. Once they start playing football, everyone joins in and Obioma finds a new team to play with!
Patriarchy does not respect national boundaries. It is unabashedly promiscuous in its influences and tethers. Yet, it does use nationalism very productively.
An empty street at night. A crowded bus. A lecture hall. All sites of female fear, instilled in women and those who have been constructed female, from an early age.
Drawing on examples from around the world – from Uganda, Nigeria, South Africa to Saudi Arabia, the Americas and Europe, Gqola traces the construction and machinations of the female fear factory by exposing its lies, myths, and seductions. She shows how seemingly disparate effects, like driving bans, street harassment, and coercive professors, are the product of the ever-turning machinery of the female fear factory, and its use of fear as a tool of patriarchal subjugation and punishment.
Female Fear Factory: Unravelling Patriarchy’s Cultures of Violence is a sobering account of patriarchal violence in the world, and a hopeful vision for the work of unapologetic feminist imaginative strategies across the globe.
Dead pastors. Corrupt government officials. And over 100 million dollars unaccounted for. Amaka is back in this electrifying third instalment in the Amaka Thrillers series.
A frantic phone call interrupts Amaka Mbadiwe’s new life in London. A renowned pastor has been assassinated in his hotel room while one of her girls, Funke, hid naked and terrified inside a sofa. Amaka is headed back to Lagos, and to a new world of private jets, money-laundering and mega-churches. With her trusted ally Police Inspector Ibrahim out of the country, and the hostile Inspector Musa breathing down her neck, Amaka must race against the clock to rescue Funke and untangle this twisted web of religion, power and politics.
With a punishing intensity, full of twists and turns, Unfinished Business oscillates with scandal, corruption and sleaze.
Includes the 2021 and 2022 shortlisted AKO Caine Prize stories as well as stories from the Caine Prize workshop
A woman who carries her fate and that of her community in her hair is beguiled by the deceptive designs of Europeans out to colonise her most prized possession. A man finds happiness in the reincarnation of a lost love. A young woman risks her life for freedom through the cultural practice of a human loan scheme.
Tales of sacrifice, love, freedom, self-discovery and loss fill the pages of this larger-than-life tapestry of stories from across Africa and its diaspora. Forged in a diversity of tempers and forms, these stories range from the epistolary to the experimental, from mysteries, noirs and political thrillers to speculative fiction and futurism, and much more. In prose that moves from visual and lyrical to gritty and visceral, these writers explore fate, memory, the fragility of love and the duplicitous nature of human interactions.
Àdùké lives with her grandparents in Ibadan and Grandma is her favourite person in the world. She loves when Grandma sings to her, and gives her treats from her stall. But one day, Àdùké comes home from school and can’t find Grandma anywhere! Àdùké doesn’t understand why Grandma can’t come back, but then her aunt Yímiká tells her a secret. Can she really see Grandma if she squints up at the moon?
Àdùkẹ́ ń gbé pẹ̀ lú àwọn òbí òbí rẹ̀ ní ìlú Ìbàdàn, Ìyá Àgbà ló sì fẹ́ràn jùlọ lágbàáyé.
Ó fẹ ́ràn kí Ìyá Àgbà máa kọrin fún àti bí wọ́n ṣe máa ń fun ní kókóró láti inú ìsọ̀ wọn.
Ní ọjọ́ kan, Àdùkẹ́ dé láti ilé-ìwé, ṣùgbọ́ n kò rí Ìyá Àgbà níbì kankan! Àdùkẹ́ ò mọ ìdí tí
Ìyá Àgbà ò le padà wá mọ́. Nígbà náà ni àntí Yímíká sọ àṣírí kan fún.
Ṣé lóòótọ́ ni ó lè rí Ìyá Àgbà nínú òṣùpá tí ó bá ṣe ojú rẹ̀ tínńtín?