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Talk to Me
This short story by poet and writer Dami Ajayi (Nigeria) is about what happens when technology interrupts a relationship. Alongside an interview with the author, this story originally appeared in the anthology "Gambit: Newer African Writing (The Mantle, 2014)."
From Limbe to Lagos
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This House is Not for Sale
This House is Not for Sale is a story about a house in an African neighbourhood, the Family House, owned and ruled over by the patriarchal, business-minded Grandpa - by turns benevolent and cruel - and home to his wives, children, grandchildren, and the many in his service. It tells the stories of the people who live there, of the curse placed on the house by one of its former occupants, of the evil and brutality that transpires there, and finally of its downfall. By the acclaimed author of Voice of America, This House is Not for Sale is a brilliantly inventive debut novel which draws on the rich oral traditions of Nigeria and is full of wisdom and dark humour. From everyday violence and magic, to the voices of gossiping neighbours, here is an utterly engrossing story of an African community, its culture and traditions, and the power of storytelling.
Daybreak
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Gambit
...Is a unique collection of nine interviews and original short stories by emerging writers from across Africa. The stories in this anthology reflect the nuances that arise from living in a post-postcolonial Africa, where stereotypes are crumbling and writers are willing to tackle themes that are more social than political. Unlike other anthologies of African writing, Gambit's contributors are mostly based in their home countries, putting them closer to the themes they lyrically confront. The interviews provide insight into the writers' inspirations, fears, hopes, and craft. The short stories reveal a range of experiences that are alive with grace, resilience, and humor. Gambit is one way to rediscover today's writing from the African continent. Book jacket.
Arrows of Rain
Okey Ndibe's critically-acclaimed debut novel, Arrows of Rain is a vital exploration into the importance of speaking truth to power even when no one is listening. In the country of Madia, the General has declared himself Life-President of the Republic. According to him, ninety-nine percent of Madians voted for it. On the day of his ascendency, however, a young sex worker is found dead on a beach. The last man who spoke to her, the 'madman' Bukuru, is adamant he saw her being attacked by Madian soldiers. His claim quickly lands him in prison, forced to defend himself against the charge of the woman's murder. Armed only with the truth, he must set upon the perilous scheme of releasing his story to the world. A brave and powerful work of fiction, Arrows of Rain continues to resonate as a cautionary tale against corruption and oppression. 'Highly evocative.' Wole Soyinka 'The greatest villain in Okey Ndibe's Arrows of Rain is silence.' Vanity Fair 'A Kafkaesque, imaginative novel of great necessity and power.' Kirkus Reviews
Madman at Kilifi
Clifton Gachagua’s collection Madman at Kilifi, winner of the Sillerman First Book Prize for African Poets, concerns itself with the immediacy of cultures in flux, cybercommunication and the language of consumerism, polyglot politics and intrigue, sexual ambivalence and studied whimsy, and the mind of a sensitive, intelligent, and curious poet who stands in the midst of it all. Gachagua’s is a world fully grounded in the postmodern Kenyan cultural cauldron, a world in which people speak with “satellite mouths,” with bodies that are “singing machines,” and in which the most we can do is “collide against each other.” Here light is graceful, and we glow like undiscovered galaxies and shifting matter. And here as well, we find new expression in a poetry that moves as we do.
Collective Amnesia
Since its publication in April 2017, Collective Amnesia has taken the South African literary scene by storm. The book is in its twelfth print run and is prescribed for study at tertiary level in South African Universities and abroad. The collection is the recipient of the 2018 Glenna Luschei Prize for African Poetry, named 2017 book of the year by the City Press and one of the best books of 2017 by The Sunday Times and Quartz Africa. It is translated into Spanish (Flores Rara, 2019), German (Wunderhorn Publishing House, 2019), Danish (Rebel with a Cause, 2019), Dutch (Poeziecentrum, 2020), Swedish (Rámus förlag). Forthcoming translations: Portuguese (Editora Trinta Zero Nove), Italian (Arcipelago itaca) and French (éditions Lanskine). Collective Amnesia examines the intersection of politics, race, religion, relationships, sexuality, feminism, memory and more. The poems provoke institutions and systems of learning and interrogates what must be unlearned in society, academia, relationships, religion, and spaces of memory and forgetting.
there's more
In there’s more, Uchechukwu Peter Umezurike takes on the rich concepts of home and belonging: home lost and regained, home created with others and with the land, home as “anywhere we find something to love.” Giving voice to the experiences of migrant and other marginalized citizens whose lives society tends to overlook, this collection challenges the oppressive systems that alienate us from one another and the land. Carefully built lyric meditations combine beauty and ugliness, engaging with violence, and displacement, while seeking to build kinship and celebrate imagination. Weaving domestic and international settings, salient observation and potent memory, Umezurike immerses the reader in rich, precise imagery and a community of voices, ideas, and recollections. there’s more navigates immigrant life with a multifaceted awareness of joy, melancholia, loss, and hope.
Decolonizing African Knowledge
Addressing the consequences of European slavery, colonialism, and neo-colonialism on African history, knowledge and its institutions, this innovative book applies autoethnography to the understanding of African knowledge systems. Considering the 'Self' and Yoruba Being (the individual and the collective) in the context of the African decolonial project, Falola strips away Eurocentric influences and interruptions from African epistemology. Avoiding colonial archival sources, it grounds itself in alternative archives created by memory, spoken words, images and photographs to look at the themes of politics, culture, nation, ethnicity, satire, poetics, magic, myth, metaphor, sculpture, textiles, hair and gender. Vividly illustrated in colour, it uses diverse and novel methods to access an African way of knowing. Exploring the different ways that a society understands and presents itself, this book highlights convergence, enmeshing private and public data to provide a comprehensive understanding of society, public consciousness, and cultural identity.
