tag:blogger.com,1999:blog-39074953509324732272024-03-13T03:13:26.944+00:00bookshybookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comBlogger556125tag:blogger.com,1999:blog-3907495350932473227.post-39711118033821536012020-10-24T15:20:00.025+01:002020-10-27T10:03:59.228+00:00African Literature in Translation: Italian Edition<p style="text-align: justify;"><span style="font-family: arial;"> </span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5M1dFcysNL8feRzvEMjFH7ZyG38gsNs76u6L4NKc5cOQWZGMRSYqHwUKPd8EAnlxm8dvq1WFQdoka4en-7dO0ZxcwFKoycfSHyp-YyqyThJsXMGP2KfK9zbjIs5YubtdhsF2frt2oZNQZ/s2048/letters.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1847" data-original-width="2048" height="577" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5M1dFcysNL8feRzvEMjFH7ZyG38gsNs76u6L4NKc5cOQWZGMRSYqHwUKPd8EAnlxm8dvq1WFQdoka4en-7dO0ZxcwFKoycfSHyp-YyqyThJsXMGP2KfK9zbjIs5YubtdhsF2frt2oZNQZ/w640-h577/letters.jpeg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: arial;">I've been learning Italian. Very slowly. I'm still pretty bad. No, I'm not being modest. Actually, I was not being honest when I said I'm still pretty bad, because, I.am.appalling. But I will still keep at it. I'm learning cause I moved ... again. For work. This time to Italy.</span><p></p><p style="text-align: justify;"><span style="font-family: arial;">This morning as I was scrolling through my social media feed, I noticed the Italian translation of Bernardine Evaristo's </span><i style="font-family: arial;">Girl, Woman, Other</i><span style="font-family: arial;">. This reminded me of the Italian translation of Sarah Ladipo Manyika's </span><i style="font-family: arial;">Like a Mule</i><span style="font-family: arial;">, which I saw some months back. As it is with my mind, it started going off in many directions, wondering about what other books in English by African writers have been translated into Italian. Maybe one day I'll even be able to read them in Italian, but for now, here are eleven books I found. As always this isn't an exhaustive list. PS. This doesn't include books written in Italian by Black Italian writers - that list soon come. PPS. I found quite a few by Black writers (including </span><a href="https://www.edizionisur.it/autori/toni-cade-bambara/?doing_wp_cron=1603544412.7902739048004150390625" style="font-family: arial;" target="_blank">Toni Cade Bambara</a><span style="font-family: arial;">, </span><a href="https://www.edizionisur.it/autori/octavia-e-butler/" style="font-family: arial;" target="_blank">Octavia Butler</a><span style="font-family: arial;">, </span><a href="https://www.edizionifrassinelli.it/libro/limportanza-di-ogni-parola/" style="font-family: arial;" target="_blank">Toni Morrison</a><span style="font-family: arial;">, and </span><a href="https://www.edizionisur.it/autori/fran-ross/" style="font-family: arial;" target="_blank">Fran Ross</a><span style="font-family: arial;">)</span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX8_4wyWWxZCgWdWW-Qsf8qfkbvUr62T9dFiAPQbOjEPcKS3hj7ELxECCbPPOlyEZW881Q6GFBSxpLBAQBl-bRtpR2QuKuikzSl1wScV0A7dCBAuhQW4wzRy1NF2FL49G60tFiyd6bye-6/s640/Friday+Black.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="409" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX8_4wyWWxZCgWdWW-Qsf8qfkbvUr62T9dFiAPQbOjEPcKS3hj7ELxECCbPPOlyEZW881Q6GFBSxpLBAQBl-bRtpR2QuKuikzSl1wScV0A7dCBAuhQW4wzRy1NF2FL49G60tFiyd6bye-6/w408-h640/Friday+Black.jpg" width="408" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">English title: Friday Black </span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">(More on English edition: <a href="https://www.hmhbooks.com/shop/books/Friday-Black/9781328915139" target="_blank">here</a>)</span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">Translated by: Martina Testa</span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">More info: <a href="https://www.edizionisur.it/catalogo/paese/stati-uniti/friday-black/" target="_blank">here</a></span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">Read an excerpt: <a href="https://www.edizionisur.it/wp-content/uploads/2019/02/BIGSUR37_Kwame_FridayBlack.pdf" target="_blank">here</a></span></i></div><div class="separator" style="clear: both; text-align: center;"><i><br /></i></div><div class="separator" style="clear: both; text-align: center;"><i><br /></i></div><div class="separator" style="clear: both; text-align: center;"><i><br /></i></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcVkB6pGToeGDdHa1mRPTarQfMEqAx4fAt_o-jJWwwsabHx60K1qp0ykksPP3sAFdvk_PmDrcZaGpen2X6cwJjLU4_DU0Ir0EJjg_28xJeWxzUCUi-ELvzjKLy1VA-QWC7ajT_2zCC_IgI/s1527/Tadunos+Song.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1527" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcVkB6pGToeGDdHa1mRPTarQfMEqAx4fAt_o-jJWwwsabHx60K1qp0ykksPP3sAFdvk_PmDrcZaGpen2X6cwJjLU4_DU0Ir0EJjg_28xJeWxzUCUi-ELvzjKLy1VA-QWC7ajT_2zCC_IgI/w421-h640/Tadunos+Song.jpeg" width="421" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><i><span style="font-family: arial;">English title: Taduno's Song </span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">(More on the English edition: <a href="https://www.penguinrandomhouse.com/books/541731/tadunos-song-by-odafe-atogun/" target="_blank">here</a>)</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">More info: <a href="https://www.edizionifrassinelli.it/libro/un-canto-libero/" target="_blank">here</a></span></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-tTHTcjeYPNCiLEdWBGUAEAa5AJwjU06f9nEcFMv5j1zbv08GmJWgYGbM0VEgGdlzch6OYI7sz2OXNVHKeLp2TgrqnNIi0nYgkYqGYKVUQTomVL0yY-cusvW10F1wK34yAHU9isg8zB2P/s637/GirlWomanOther.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="637" data-original-width="409" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-tTHTcjeYPNCiLEdWBGUAEAa5AJwjU06f9nEcFMv5j1zbv08GmJWgYGbM0VEgGdlzch6OYI7sz2OXNVHKeLp2TgrqnNIi0nYgkYqGYKVUQTomVL0yY-cusvW10F1wK34yAHU9isg8zB2P/w410-h640/GirlWomanOther.jpg" width="410" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">English Title: Girl, Woman, Other </span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">(More on the English edition: <a href="https://www.penguin.co.uk/books/311/311140/girl--woman--other/9780241984994.html" target="_blank">here</a>)</span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">Translated by: Martina Testa</span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">More info: <a href="https://www.edizionisur.it/catalogo/paese/gran-bretagna/ragazza-donna-altro/" target="_blank">here</a></span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">Read an excerpt: <a href="https://www.edizionisur.it/wp-content/uploads/2020/09/BIGSUR51_Evaristo_RagazzaDonnaAltro.pdf" target="_blank">here</a></span></i></div><div class="separator" style="clear: both; text-align: center;"><i><br /></i></div><div class="separator" style="clear: both; text-align: center;"><i><br /></i></div><div class="separator" style="clear: both; text-align: center;"><i><br /></i></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNadTe37RF1xba-jAtYNIaKa08GQ7ubYH5Jg2dohXyhKJAna1G8nNN11tQm4zEa9IK53Td6T1QPDzflwRX1X1Cc9r4hbRrxfTVrU8AuDV1Y7ldOQhjAamA9zvD7eiGn6rrYknueYsRGXzz/s375/Knots.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="250" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNadTe37RF1xba-jAtYNIaKa08GQ7ubYH5Jg2dohXyhKJAna1G8nNN11tQm4zEa9IK53Td6T1QPDzflwRX1X1Cc9r4hbRrxfTVrU8AuDV1Y7ldOQhjAamA9zvD7eiGn6rrYknueYsRGXzz/w426-h640/Knots.jpg" width="426" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><i><span style="font-family: arial;">English Title: Knots </span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">(More on English edition <a href="https://www.penguinrandomhouse.com/books/299246/knots-by-nuruddin-farah/" target="_blank">here</a>)</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">Translated by: S. Fornaseiro</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">More info: <a href="https://www.edizionifrassinelli.it/libro/nodi/" target="_blank">here</a></span></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj92sN_3pY8KRlkpIP3lE95jYyAAUAEbrkQzbgVpQ8t1fzB3ANTm2k9cuRjNeypn-MicMR9-MwRDCeXRv7GHNZqWvxFax7VjugcDd1YZqB4vv1LyMNvyPs0c6aOFGBhyG5PGOxBseC4TrV9/s401/Links.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="401" data-original-width="250" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj92sN_3pY8KRlkpIP3lE95jYyAAUAEbrkQzbgVpQ8t1fzB3ANTm2k9cuRjNeypn-MicMR9-MwRDCeXRv7GHNZqWvxFax7VjugcDd1YZqB4vv1LyMNvyPs0c6aOFGBhyG5PGOxBseC4TrV9/w400-h640/Links.jpg" width="400" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><i><span style="font-family: arial;">English Title: Links </span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">(More on English edition <a href="https://www.penguinrandomhouse.com/books/293052/links-by-nuruddin-farah/" target="_blank">here</a>)</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">Translated by: S. Fornaseiro</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">More info: <a href="https://www.edizionifrassinelli.it/libro/nodi/" target="_blank">here</a></span></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmcCPIhajhAzB_x3mL9KsNMpkDPZIWceEFiVL3__CPf32uSu9Et5fLJ76yIG4epCgIqX0iKiMxEXFybS46VbTzS5zy83MVwK9FpaGgAckYl69AM9rcTxZOeFTlidWC24B1apOPpejHX7MZ/s1497/Like+a+Mule.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="1497" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmcCPIhajhAzB_x3mL9KsNMpkDPZIWceEFiVL3__CPf32uSu9Et5fLJ76yIG4epCgIqX0iKiMxEXFybS46VbTzS5zy83MVwK9FpaGgAckYl69AM9rcTxZOeFTlidWC24B1apOPpejHX7MZ/w429-h640/Like+a+Mule.jpeg" width="429" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;"><br /></span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">English title: Like a Mule Bringing Ice-cream to the Sun </span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">(More on the English edition: <a href="https://cassavarepublic.biz/product/like-a-mule-bringing-ice-cream-to-the-sun/" target="_blank">here</a>)</span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">Translated by: A. Briganti</span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;">More info: <a href="https://www.edizionifrassinelli.it/libro/storie-della-mia-citta/" target="_blank">here</a></span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;"><br /></span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;"><br /></span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: arial;"><br /></span></i></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN4E7PJX5Ns3TZfQoVp6dDQ0_bPX-ZL9xH9AV_fBhiEqFvsyTxK9ow0ml4Svkq99YoYLRVQ5bWtIALBPjNFFNDJnPjoSVod14S63WXjlnx05ekyjQVLo9TXmlQsPyMXQxo4tN4rL7XVaKT/s1811/house+of+hunger.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1811" data-original-width="1195" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN4E7PJX5Ns3TZfQoVp6dDQ0_bPX-ZL9xH9AV_fBhiEqFvsyTxK9ow0ml4Svkq99YoYLRVQ5bWtIALBPjNFFNDJnPjoSVod14S63WXjlnx05ekyjQVLo9TXmlQsPyMXQxo4tN4rL7XVaKT/w422-h640/house+of+hunger.jpg" width="422" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><i><span style="font-family: arial;">English title: The House of Hunger </span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">(More on English edition: <a href="https://www.goodreads.com/book/show/863234.The_House_of_Hunger" target="_blank">here</a>)</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">Translated by: Eva Allione</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">More info: <a href="https://www.raccontiedizioni.it/prodotto/la-casa-della-fame/" target="_blank">here</a></span></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL7qxvRqtCAcgCjY0AsWPqEAcM6qpKv8SBE5XAm7ar4wKpcliRGu3iyVtdKlrh8WvA6hQlmMlh9jrmnQHGmYYkt2zg97ud1KE7wIPrFzrDdfG-kofOsvozyfqefKkthtyABjDc68gHxc1i/s768/All+Our+Names.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="768" data-original-width="500" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL7qxvRqtCAcgCjY0AsWPqEAcM6qpKv8SBE5XAm7ar4wKpcliRGu3iyVtdKlrh8WvA6hQlmMlh9jrmnQHGmYYkt2zg97ud1KE7wIPrFzrDdfG-kofOsvozyfqefKkthtyABjDc68gHxc1i/w416-h640/All+Our+Names.jpeg" width="416" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><i><span style="font-family: arial;">English title: All Our Names </span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">(More on English edition: <a href="https://www.penguinrandomhouse.com/books/225670/all-our-names-by-dinaw-mengestu/" target="_blank">here</a>)</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">Translated by: M. Castagnone</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">More info: <a href="https://www.edizionifrassinelli.it/libro/tutti-i-nostri-nomi/" target="_blank">here</a></span></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ZFz6zaL0KE21InqXgn6IQZAwACPxVUasnAiHZnmb-WsevOWjFZu3pTFQrmv8cpYejrYXBZUoaHo5g53wpQc71Kg2A6Z3A2NyUB_Xjy_buAeq7JZud1BNSo2Ihb94QETtZgZnK8AN6dWF/s1535/Binti.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1535" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ZFz6zaL0KE21InqXgn6IQZAwACPxVUasnAiHZnmb-WsevOWjFZu3pTFQrmv8cpYejrYXBZUoaHo5g53wpQc71Kg2A6Z3A2NyUB_Xjy_buAeq7JZud1BNSo2Ihb94QETtZgZnK8AN6dWF/w416-h640/Binti.jpeg" width="416" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><i><span style="font-family: arial;">English title: Binti </span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">(More on English edition: <a href="https://www.tor.com/2015/08/17/excerpts-binti-nnedi-okorafor/" target="_blank">here</a>)</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">Translated by: B. Tavani</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">More info: <a href="https://www.oscarmondadori.it/libri/binti-nnedi-okorafor/" target="_blank">here</a></span></i></div></div><br /><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlYJBsMEOSudv94mpVMmSews1RGncCRPBxSy0E6Ehao7Ey5G6RWUTw0SVkcjaRjiAqOhyphenhyphenc3mJXH59260_C9BeC7ZByfa1P7-cH-bOKaYRJJf0OMlPp7Oug1smuBiVqpiZ7AGU5zoMDhVfR/s1110/Happiness+like+water.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1110" data-original-width="766" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlYJBsMEOSudv94mpVMmSews1RGncCRPBxSy0E6Ehao7Ey5G6RWUTw0SVkcjaRjiAqOhyphenhyphenc3mJXH59260_C9BeC7ZByfa1P7-cH-bOKaYRJJf0OMlPp7Oug1smuBiVqpiZ7AGU5zoMDhVfR/w442-h640/Happiness+like+water.jpg" width="442" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><i><span style="font-family: arial;">English title: Happiness, Like Water </span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">(More on English edition: <a href="https://www.hmhbooks.com/shop/books/Happiness-Like-Water/9780544003453" target="_blank">here</a>)</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">Translated by: Federica Gavioli</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">More info: <a href="https://www.raccontiedizioni.it/prodotto/la-felicita-lacqua/" target="_blank">here</a></span></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsEHME2uVqdCjFCqAzwGG3E4t1omM-SUdcKV6t6Z57jC987GZCaKmFG0gJJd7e97iB8ppzDcBPS-iWaeL1K4Izi_BNtkzh_TETkjgazm1iusPIlOB98OmZexwxM84kafsK9uTpQooAnjDl/s393/At+Dawn.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="393" data-original-width="250" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsEHME2uVqdCjFCqAzwGG3E4t1omM-SUdcKV6t6Z57jC987GZCaKmFG0gJJd7e97iB8ppzDcBPS-iWaeL1K4Izi_BNtkzh_TETkjgazm1iusPIlOB98OmZexwxM84kafsK9uTpQooAnjDl/w408-h640/At+Dawn.jpg" width="408" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><i><span style="font-family: arial;">English title: You Must Set Forth At Dawn </span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">(More on English edition: <a href="https://www.penguinrandomhouse.com/books/170649/you-must-set-forth-at-dawn-by-wole-soyinka/" target="_blank">here</a>)</span></i></div><div class="separator" style="clear: both;"><i><span style="font-family: arial;">More info: <a href="https://www.edizionifrassinelli.it/libro/sul-far-del-giorno/" target="_blank">here</a></span></i></div></div>bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-85819360136942265332020-10-12T00:14:00.002+01:002020-10-12T00:14:41.102+01:00Something for the Kids: The Incredible Kids Comic Series <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh16AWKfXTKHP0ePajcDB_C0zNGelH9VtTL8yb87BC8Uri7PdUoNpjcUdkW_WbVVtu_7jgMyo6dArjADyovmcdyk8p-XdFqzAhQXnZYkn_XmAihYkcd82uRV6beAcNvZExeDROzmj1mT_NX/s2048/The+ISA+-+Social+Media+JPG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1754" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh16AWKfXTKHP0ePajcDB_C0zNGelH9VtTL8yb87BC8Uri7PdUoNpjcUdkW_WbVVtu_7jgMyo6dArjADyovmcdyk8p-XdFqzAhQXnZYkn_XmAihYkcd82uRV6beAcNvZExeDROzmj1mT_NX/w549-h640/The+ISA+-+Social+Media+JPG.jpg" width="549" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><br /></span></div><p style="text-align: justify;"><span style="font-family: arial;">It's been quiet here for a minute ... and I haven't completely returned from my self-imposed hibernation (work and life is really making it difficult to find the time), but I had to share a really fun new series for the kids. This exciting new comic book series is from Miia Torera, <a href="https://www.miiato.com/" target="_blank">miiato</a>, and for children aged 4 to 8. </span></p><p style="text-align: justify;"><span style="font-family: arial;"><i><a href="https://www.amazon.com/Miia-Torera/e/B08JCWBH5M?ref_=pe_1724030_132998060" target="_blank">The Incredible Kids Comic Series</a> </i>follows the adventures of three toddler superheroes: Incredible I, Starboi, and the Amazing Amaziah. I read the first two books in the series <i>Chocolate Crisis </i>and <i>Enter the Mummy </i>over the weekend, and I am hooked. Both stories were equally engaging and hilarious. I found myself chuckling, and in some cases, laughing out loud, while reading.</span></p><p style="text-align: justify;"><span style="font-family: arial;">We first meet our superhero trio in <i>Chocolate Crisis</i>, where the world's supply of chocolate chip cookies will possibly be destroyed. Yes, every last one of them!!! Thankfully Incredible I - the oldest of the sibling superhero trio - is here to save the day. Can Incredible I, or should he, do it on his own? Will Incredible I, join forces with his siblings - Starboi and Amazing Amaziah - to rescue these yummy snacks many of us cannot live without? Also, can they decide on a name for their 'good guyz' gang before the mission even begins?</span></p><p style="background-color: white; color: #333333; margin: 0px 0px 14px; padding: 0px; text-align: justify;"><span style="font-family: arial;"><span style="background-color: transparent;">In their next adventure, </span><i style="background-color: transparent;">Enter the Mummy</i><span style="background-color: transparent;">, Incredible I and Starboi, team up (wonder where Amazing Amaziah is?) to solve the ancient immortal, the Mummy's, clues to stop the Bedtime bomb going off. They have 30 minutes to ensure it doesn't go off. Why? Because, if they don't, all the world's children will be forced to go to sleep - whether they are tired or not. </span></span></p><p style="background-color: white; color: #333333; margin: 0px 0px 14px; padding: 0px;"><span style="background-color: transparent;"><span style="font-family: times;"><br /></span></span></p><p style="background-color: white; color: #333333; margin: 0px 0px 14px; padding: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjcPEQlEF80xhW4UV1cmBml_2LNbP-adJcQeLhiqewsz9DJNQJtau-hYDepJUjOtJTpBSsFMHaxTL26JsYYPEX41MNHwH6e-VKJ7ltigrhc_wEpXLYqnhsZ6znEXeAg4YCCZy0vjINwIgF/s500/Chocolate+Crisis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="386" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjcPEQlEF80xhW4UV1cmBml_2LNbP-adJcQeLhiqewsz9DJNQJtau-hYDepJUjOtJTpBSsFMHaxTL26JsYYPEX41MNHwH6e-VKJ7ltigrhc_wEpXLYqnhsZ6znEXeAg4YCCZy0vjINwIgF/s320/Chocolate+Crisis.jpg" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiBWP3VfYldw5wq3OjsFY0BIbgRNOWWF0V3j9L5oNwwCznI1k9WEcgB7eK6D_Uz8EGJjO43vpspd3WfOstnXyiJEGrICPQWdfeg3tFRQ6qL5CFYEWWlu83Lo1R4l8FTlhZM9Rs7N1E1hqM/s500/Enter+the+Mummy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="386" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiBWP3VfYldw5wq3OjsFY0BIbgRNOWWF0V3j9L5oNwwCznI1k9WEcgB7eK6D_Uz8EGJjO43vpspd3WfOstnXyiJEGrICPQWdfeg3tFRQ6qL5CFYEWWlu83Lo1R4l8FTlhZM9Rs7N1E1hqM/s320/Enter+the+Mummy.jpg" /></a></span></div><span style="font-family: times;"><div style="text-align: center;"><a href="https://www.amazon.com/Miia-Torera/e/B08JCWBH5M?ref_=pe_1724030_132998060" target="_blank">Images via Amazon</a></div><span style="background-color: transparent;"><br /></span></span><p></p><p style="text-align: justify;"><span style="font-family: arial;">I loved both comics and the fun way in which teamwork is portrayed, how we are introduced to each of the brothers' superpowers (you'll have to get a copy to find out), and the lively illustrations. The focus of each book (saving the world from a loss of cookies, and trying to beat bedtime) is extremely cute and hilarious. I especially love how <i>Enter the Mummy </i>transports us into the imagination of toddlers. How amazing their thoughts and adventures are, but also how the Mummy - in providing clues - is also supporting their creativity. It also transported me to my youth, and the different games my siblings and I would play to entertain ourselves. </span></p><p style="text-align: justify;"><span style="font-family: arial;"><i>The Incredible Kids</i><i> </i>is a really fun and exciting comic series, and I can't wait for the next adventure the sibling trio get up to. What other mission will T.E.D.D.Y have for I.S.A? Will the bad guyz - Teddy Toughs - return? Oh, and will Amazing Amaziah make an appearance again (because I am obsessed with that blue hoodie)? I guess we will have to stay tuned. </span></p><p style="text-align: justify;"><span style="font-family: arial;">PS. If you want to find out even more about I.S.A, head to <a href="https://www.miiato.com/incredible-kids/" target="_blank">miiato's website</a>. The interactive page adds to the fun and adventure of this Incredible (pun intended) series.</span></p>bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-13136307761340579322020-05-19T11:27:00.001+01:002020-05-19T11:27:33.014+01:002020 AKO Caine Prize Shortlist is Here! <div dir="ltr" style="text-align: left;" trbidi="on">
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<i><span style="font-family: "arial" , "helvetica" , sans-serif;">The 2020 AKO Caine Prize shortlisted stories are written in humorous, tragic and satirical tones.</span></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">2020 makes twenty years of the Caine Prize for African Writing - now known as the AKO Caine Prize for African Writing - and this just in, <a href="http://caineprize.com/press-releases/2020/3/4/the-ako-caine-prize-receives-222-submissions-bn2z8-4t69n">the shortlist for the 2020 AKO Caine Prize for African Writing has been announced</a>. It features five stories that “<i>speak eloquently to the human condition</i>” through a diverse array of themes and genres. This year’s shortlist was determined virtually by the judging panel.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 14.6667px;">Twenty-eight countries were represented in this year’s eligible entries: Angola/Cabinda; Botswana; Cameroon; Cote D'Ivoire; Democratic Republic of Congo; Egypt; Ethiopia; Ghana; Kenya; Libya; Malawi; Mauritius; Morocco; Nigeria; Namibia; Rwanda; Senegal; Sierra Leone; Somalia; South Africa; South Sudan; Sri Lanka; Sudan; Tanzania; The Gambia; Uganda; Zambia and Zimbabwe.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">The shortlisted authors for this year’s Prize are from Namibia, Nigeria, Rwanda and Tanzania. They are</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">:</span><br />
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<b style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">Erica Sugo Anyadike (Tanzania)</b><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;"> for ‘</span><a href="https://static1.squarespace.com/static/565c3d39e4b027c789ba5b70/t/5ec2d4ac6ee9e97d9d5880cf/1589826734551/Erica+Sugo+Anyadike+-+How+to+Marry+an+African+President.pdf" style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">How to Marry An African President</a><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">’ published in </span><i style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">adda: Commonwealth Stories </i><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">(2019)</span><br />
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<b style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">Chikodili Emelumadu (Nigeria & UK)</b><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;"> for ‘</span><a href="https://static1.squarespace.com/static/565c3d39e4b027c789ba5b70/t/5ec2d4e4e8c1a930d26ea3c6/1589826794511/Chikodili+Emelumadu+-+What+to+do+when+your+child+brings+home+a+Mami+Wata.pdf" style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">What to do when your child brings home a Mami Wata</a><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">’ published in </span><i style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">The Shadow Booth: Vol.2</i><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;"> (2018)</span><br />
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<b style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">Jowhor Ile (Nigeria)</b><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;"> for ‘</span><a href="https://static1.squarespace.com/static/565c3d39e4b027c789ba5b70/t/5ec2d5106ee9e97d9d589a7a/1589826834762/Jowhor+Ile+-+Fishermans+Stew.pdf" style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">Fisherman's Stew</a><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">’, published in </span><i style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">The Sewanee Review</i><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;"> (2019)</span><br />
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<b style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">Rémy Ngamije (Rwanda & Namibia)</b><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;"> for ‘</span><a href="https://static1.squarespace.com/static/565c3d39e4b027c789ba5b70/t/5ec2d52ee8c1a930d26eb5c5/1589826865874/Re%CC%81my+Ngamije+-+The+Neighbourhood+Watch.pdf" style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">The Neighbourhood Watch</a><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">’, published in </span><i style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">The Johannesburg Review of Books</i><span style="background-color: transparent; font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;"> (2019)</span><br />
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<b style="font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">Irenosen Okojie (Nigeria & UK)</b><span style="font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;"> for ‘<a href="https://static1.squarespace.com/static/565c3d39e4b027c789ba5b70/t/5ec2d561c2f5a77eb9425042/1589826916866/Irenosen+Okijie+-+Grace+Jones.pdf">Grace Jones</a>’ from "Nudibranch", published by </span><i style="font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;">Hachette</i><span style="font-family: arial, helvetica, sans-serif; font-size: 11pt; text-indent: -18pt;"> (2019)</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://caineprize.com/press-releases/2020/3/4/the-ako-caine-prize-receives-222-submissions-bn2z8-4t69n">Image via AKO Caine Prize</a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Excited by this shortlist, and I do not envy this year's judges. I'm making my way slowly through the shortlisted stories, and have started with Chikodili Emelumadu's story on Mami Wata's, which is written in the form of a paper - could even say a journal article.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Calibri, sans-serif; line-height: 15.6933px; text-align: start;"><span style="font-size: x-large;">"</span></span><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 15.6933px; text-align: start;"><i>Please note: ‘Mami Wata’ (also known in various other regions as ‘Mammy Water’) is used in this context as an umbrella term for both genders of the popular water entity (i.e. Mami and Papi Watas) and does not represent those other mer-creatures without the appearance of absolute humanoid traits. For these other non-humanistic water entities including but not restricted to: permanent mermaids and mermen, crocodile fellows, shark-brides, turtle crones and anomalous jelly blobs of indeterminate orientation, please see our companion volume, ‘So You Want to Kill a Mer-Creature?’ which will guide you through the appropriate juju framework to avoid or deflect repercussions and will elucidate general and specific appeasement rituals. See also, ‘Entities and Non-entities: The Definitive Legal Position on Aquatic Interspecies Marriages, Non-Marriage Couplings and Groupings’</i></span><span style="font-family: Calibri, sans-serif; line-height: 15.6933px; text-align: start;"><span style="font-size: x-large;">"</span></span><span style="font-size: small; text-align: start;"></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">On the shortlist, t</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">he Chair of judges, Director of The Africa Centre, Kenneth Olumuyiwa Tharp CBE, said: </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">“<i>We were energised by the enormous breadth and diversity of the stories we were presented with – all of which collectively did much to challenge the notion of the African and diaspora experience, and its portrayal in fiction, as being one homogenous whole.</i></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>These brilliant and surprising stories are beautifully crafted, yet they are all completely different from one another. From satire and biting humour, to fiction based on non-fiction, with themes spanning political shenanigans, outcast communities, superstition and social status, loss, and enduring love. Each of these shortlisted stories speak eloquently to the human condition, and to what it is to be an African, or person of African descent, at the start of the second decade of the 21st century.<o:p></o:p></i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Together, this year’s shortlisted stories signal that African literature is in robust health, and, as demonstrated by the titles alone, never predictable</i>.”</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Joining <a href="https://www.africacentre.org.uk/blog/kenneth-olumuyiwa-tharp-cbe-our-new-director/">Kenneth Olumuyiwa Tharp</a> on the 2020 judging panel are <a href="https://twitter.com/bbc_audreyb?lang=en">Audrey Brown</a> (South African broadcast journalist), <a href="https://gabrielgbadamosi.com/">Gabriel Gbadamosi</a> (Irish-Nigerian poet and playwright), <a href="https://www.dipsaus.org/what-we-do-1">Ebissé Wakjira-Rouw</a> (Ethiopian-born nonfiction editor and policy adviser at the Dutch Council for Culture in the Netherlands), and <a href="https://www.jamesmurua.com/">James Murua</a> (Kenyan based journalist, blogger, podcaster and editor).<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The AKO Caine Prize has had to postpone this year’s annual award ceremony, and hopes to announce the winner of this year’s £10,000 prize in the autumn noting that </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">"<i>the safety of our authors, staff, guests and partners remains a priority, and the Prize will continue to closely monitor the latest government guidelines.</i>" Each shortlisted writer will also receive £500.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The shortlisted stories will be published in t</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 14.6667px;">he AKO Caine Prize anthology, </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 14.6667px;">alongside stories written at the AKO Caine Prize workshop -</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 14.6667px;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">and also through co-publishers in 16 African countries.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">Congratulations to the shortlisted authors, and counting down to later in the year when the winner is announced. Until then, I'll be showcasing the shortlisted authors and sharing their stories and more exciting content.</span></div>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-4801109314669832472020-05-10T12:17:00.001+01:002020-05-10T12:55:53.454+01:00Read it! Loved It! Weekly Round-Up<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.pinterest.co.uk/pin/723742602595000727/">Image via Pinterest</a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It's a nice sunny Sunday here (don't worry - I am enjoying the weather from my living room), and I'm back with my round-up of reads. This week saw a mix of oldies and newbies on the reading front. Here, we go! </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Did you know <a href="https://africasacountry.com/2020/05/wole-soyinka-sang">Wole Soyinka sang</a>? Moshood shares this bit of information over on Africa is a Country.</span><br />
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<i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">"</span>For a time in his mid-20s, Soyinka was a cafe singer in Paris. Two decades later, back in Nigeria, he wrote a two-track album named 'Unlimited Liability Company'. Although much of the singing was fone by actor and musician Tunji Oyelana & His Benders, Wole Soyinka's voice also features on both tracks.<span style="font-size: x-large;">" </span></span></i><br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.discogs.com/Wole-Soyinka-Featuring-Tunji-Oyelana-His-Benders-Unlimited-Liability-Company/release/6459631">Image via discogs</a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Also on Africa is a Country, <a href="https://africasacountry.com/2020/05/decolonizing-the-drama">Decolonising the Lens by Bhakti Shrigarpure</a> focuses on Rwandan novelists Scholastique Mukasonga's novel <i>Our Lady of the Nile</i>, which has been adapted into a film from French-Afghan writer and director Atiq Rahimi:</span><br />
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<i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">"</span>'Our Lady of the Nile' has stayed steadily in the limelight in the last few years. The original French publication in 2012 was followed by the English translation in 2014, as the book garnered awards and acclaim. And now, Rahimi has given it yet another life by bringing it to the big screen Admirably shot entirely in Rwanda, with Rwandan actors and with plenty of dialogue in Kinyarwanda, Rahini's film is visually breathtaking, tightly edited and an emotional rollercoaster. It is no surprise that it has already snapped up some awards at film festivals.<span style="font-size: x-large;">" </span></span></i><br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.berlinale.de/en/press/press-screenings/detail.html?film_id=202011745">Still from <i>Our Lady of the Nile via berlinale.de</i></a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Over on True Africa, Jackie Budesta Butanda writes about <a href="https://trueafrica.co/article/why-i-am-building-a-sanctuary-for-creating-stories-in-uganda/">building a sanctuary for creating stories in Uganda</a>.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Next is this piece on the real <i>Lord of the Flies</i>. I first read Golding's <i>Lord of the Flies </i>at 14 for my Literature GCSEs/O Levels, and I remember - even at that age - being mortified by what I read and appalled by the lack of humanity of the boys. This article focuses on six boys from Tonga who were shipwrecked on a deserted island in the 1960s. "<i><a href="https://www.theguardian.com/books/2020/may/09/the-real-lord-of-the-flies-what-happened-when-six-boys-were-shipwrecked-for-15-months?CMP=share_btn_tw">What they do, this little tribe? They made a pact never to quarrel</a>."</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There's a great new forthcoming series on <a href="https://africasacountry.com/2020/05/talking-back-african-feminisms-in-dialogue">African feminisms in dialogue</a>, on "<i>how young, African feminist scholars are using their life experiences as sources and resources for theorising their feminism</i>," and Rama Salla Dieng introduces us to it. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On the film/series front, I'm yet to watch Queen Sono, but Tsogo Kupa writes that <a href="https://africasacountry.com/2020/05/queen-sono-and-the-troubling-promise-of-netflixs-future-in-africa?fbclid=IwAR3pA2g4a42RcF1GnWwZXNMqyg1JxYBQBz-EljlA-bNwP1RCB1hxLFkK9tA">Netflix might not be the right home for a new wave of African film and television</a>, and does this by focusing on the new Queen Sono series. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I also read a lot of music-related content this week - mostly old ones, including a 2014 write-up from <a href="https://africasacountry.com/2014/06/brenda-fassie-a-revolution-without-harmony">Marissa Moorman on Brenda Fassie</a> - "<i>a woman who stepped out of line, talked out of turn, wore the pants, pulled up her skirt, loved women and men,</i>" and a <a href="https://www.thenewsnigeria.com.ng/2020/04/24/throwback-felas-prison-interview-with-thenews-in-1993-2/amp/?__twitter_impression=true">throwback interview with Fela Kuti from 1993</a>. Staying with Fela, okayafrica published an interview with Bernard Matussiere on <a href="https://www.okayafrica.com/bernard-matussiere-photographer-behind-iconic-fela-kuti-kalakuta-queens-photos/">photographing Fela and the Kalakuta Queens</a>. On interviews, check out <a href="https://www.theguardian.com/music/2020/may/08/megan-thee-stallion-hot-girl-taking-over-hip-hop-interview">Yomi Adegoke's one with Megan Thee Stallion</a>, while gal-dem shared some <a href="https://gal-dem.com/five-on-it-little-simz-wont-be-stopped-during-lockdown/">lockdown music,</a> including a new EP from Little Simz, which she recorded during lockdown. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://africasacountry.com/2014/06/brenda-fassie-a-revolution-without-harmony">Image via Africa is a Country</a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Little Richard passed away this weekend (both Brenda Fassie and Little Richard passed away on May 9 - Fassie in 2004 and Little Richard 16 years later in 2020), and read an older article on <a href="https://www.oxfordamerican.org/magazine/item/719-prayers-for-richard#.Vm4vjRo0WL0.twitter">Little Richard from 2015 in the Oxford American</a>:</span><br />
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<i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">"</span>Music fans are insatiable. The records are not enough. We are historians, anthropologists, archivists, psychologists. Little Richard is not just a legend but one of the last people alive among that first wave of rock & roll, the prime movers and shakers. So it is probably inevitable to treat Richard Penniman like a public treasure.<span style="font-size: x-large;">" </span></span></i><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Moving away from music, a friend shared with me this read on how today people are <a href="https://www.1843magazine.com/features/between-the-spreadsheets">finding partners using techniques from management consultancy.</a> </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Finally, Friday was VE (Victory in Europe) Day, and marked 75 years, and my readings centred on the African soldiers that fought for Britain during WWII. First, a photo essay from last year on <a href="https://foreignpolicy.com/2019/02/23/britains-abandoned-black-soldiers/?fbclid=IwAR20FQZ7HJk3l_E-ivQi32mk3ueXvR0J4VRG3kq41dMrdEiSYWKbr4z4ZsI">Britain's Abandoned Black Soldiers</a>. Followed by a video from 2015 on <a href="https://www.theguardian.com/world/video/2015/aug/10/forgotten-army-world-war-two-west-african-soldiers-burma-video?fbclid=IwAR0YObP-taHEU4RWOO7uY0cJg3Ave-k81d215EEcpmk-opV8WyJjtF2KYaU">West Africa's soldiers in Burma</a>. That's all for this week. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://foreignpolicy.com/2019/02/23/britains-abandoned-black-soldiers/?fbclid=IwAR20FQZ7HJk3l_E-ivQi32mk3ueXvR0J4VRG3kq41dMrdEiSYWKbr4z4ZsI">Photo via Foreign Policy</a></td></tr>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-3395463848679406702020-05-03T13:28:00.000+01:002020-05-03T13:28:00.994+01:00Read It! Loved It! Still Lockdown Reads<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.pinterest.co.kr/pin/859624647611053268/">Image via Pinterest (@illustration315)</a></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">The last week has been a bit weird for me, but I have to say I've been really looking forward to sharing my reads today. Confession! I have an excitement I haven't really felt in a while when it comes to my blog. No idea how long this feeling will last, so I'm going to go with it for as long as it is here. Over the week I've done quite a bit of reading, watching and listening. Here we go!</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">I begin with an epic list of Morrocan books in English. I aspire to create a list of this nature.</span><br />
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<i><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">"</span>The below list gathers 172 titles. That's 106 novels, short stories (collections or short stories), and plays; 37 poetry collections or single poems; 21 memoirs and essays, and 12 collective works (not least of which is Akashic Books' Marrakesh Noir, edited by Yassin Adnan, a collection that makes 11 authors available in English are not translated elsewhere).<span style="font-size: x-large;">" </span></span></i><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Now where does one start with Moroccan fiction? </i>ArabLit Editor Nadia Ghanem asks. <a href="https://arablit.org/2020/04/29/172-books-moroccan-literature-in-available-in-english/">Head over to ArabLit to find out exactly where to</a>. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Next are three interviews. First, from Africa in Words and a <a href="https://africainwords.com/2020/04/30/qa-with-maaza-mengiste-author-of-the-shadow-king-no-one-stays-static-so-language-should-not-be-static/">Q&A with Ethiopian-American writer, Maaza Mengiste</a>. On the 'many-layered stories and histories' in <i>The Shadow King</i>, Mengiste had this to say: </span><br />
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<i><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">"</span>One of the things that I decided, very, very, very early in my approach was to write a book that reflected history as a series of voices that sometimes conflict. I didn't want to tell a story that was linear. History itself is not linear. It has different narratives colliding, intersecting, and joining, which leave gaps. It means myths, legends, and falsehoods. I really wanted to reflect on the mythic quality of memory and history as one of the many ways that we remember, even if it may not necessarily be the way it happened.</span></i><i><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">"</span><span style="font-size: large;"> </span></span></i><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Followed by <a href="https://vector-bsfa.com/2020/04/29/the-big-idea-an-interview-with-wole-talabi/">Louisa Egbunike interviewing Nigerian SFF author, Wole Talabi </a>on Vector (journal of the British Science Fiction Association). On translating the science that he is interested in (Talabi is an engineer) into a narrative, Talabi explained what makes him take the leap: </span><br />
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<i><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">"</span>I think it's probably because of the way I was raised? So much of what I know about science, and history, and politics, I learned through stories.</span></i><br />
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<i><span style="font-family: Arial, Helvetica, sans-serif;">For instance, I read my dad's entire encycolopaedia collection before I was nine. I didn't really understand 90% of what I was reading, but I was reading it anyway! He has this one encyclopaedia of science and technology, filled with biographies of scientists and philosophers, from the early Chinese philosophers all the way to modern times ... They'd talk about the theories the scientists came up with, but they would also mention that this guy was a womanizer, he was a gambler, this guy stole this formula, or he won it in a card game. So there was always personality associated with the scientific knowledge.</span></i><i><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">" </span></i><i><span style="font-family: Arial, Helvetica, sans-serif;"> </span></i><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Finally, three-time Hugo award winner, <a href="https://www.theguardian.com/books/2020/may/02/nk-jemisin-its-easier-to-get-a-book-set-in-black-africa-published-if-youre-white?CMP=Share_AndroidApp_Tweet">NK Jemisin says in a recent interview</a> <i>'it's easier to get a book set in black Africa published if you're white.' </i>Staying in the world of Science Fiction and Fantasy, Jonita Davis writes about <a href="https://www.yesmagazine.org/social-justice/2020/04/24/how-black-women-are-reshaping-afrofuturism/">the science fiction subgenre becoming a vehicle for Black women artists</a>. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.yesmagazine.org/social-justice/2020/04/24/how-black-women-are-reshaping-afrofuturism/">Image via Yes Mag</a></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">In a previous life, I was in the academic world, and this piece in Catapult is from Nadia Owusu on <a href="https://catapult.co/stories/column-exit-interviews-faculty-women-of-color-in-academia-nadia-owusu">Women of colour in academia often working harder for less respect</a>. I read it a few months ago, but it came back up in my feed and re-reading it. While, it's more America focused, it really reflects some of the reasons why I didn't even think twice about not being in academia at the moment in the UK. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Less pandemic reads this week, but here are two: one from <a href="https://qz.com/africa/1845726/how-kenyans-quarantined-from-sleeping-sickness-in-19th-century/">Carey Baraka on two major epidemics</a> in now Eastern Uganda and Western Kenya that meant his grandfather had to self-isolate over a century ago. Then, a piece on Africa is a Country, which sees <a href="https://africasacountry.com/2020/04/migration-and-africas-eternal-lockdown">Iriann Freemantle reflecting on Africa's eternal lockdown in comparison to Europe's temporary one</a>. </span><br />
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<i><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">"</span>As Europeans currently experience these short-lived restrictions on movement, it is an exceptional time to reflect on what Africans endure permanently in all of Europe's name and the significance of freedom of movement to everyone in the world.</span></i><i><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">" </span></i><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">In the world of music, Tony Allen passed away Thursday evening - and <a href="https://www.rollingstone.com/music/music-news/tony-allen-afrobeat-drummer-fela-kuti-dead-992588/">Rolling Stones pay tribute to the legendary musician and pioneering Afrobeat drummer</a>, and <a href="https://twitter.com/gorillaz/status/1256603946703093761">Gorillaz recently shared a new show with Tony Allen and Skepta</a>.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.dailymotion.com/video/x23zoc1">Screenshot via Daily Motion</a></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">I am watching and listening a lot more, and here's a <a href="https://africanarguments.org/2020/04/30/lock-down-and-listen-classic-african-music-albums-to-discover/">lockdown playlist of Classic African albums</a> from African arguments, as well as <a href="https://open.spotify.com/playlist/102wzKchsgIBW2HybrTNCI?si=9n6fa5l3SkCxqHfbAafhvA">a playlist put together by Kalaf Epalanga</a> inspired by the <a href="https://twitter.com/AfrolitSansFro1">Afrolit Sans Frontier Virtual Literary Festival</a>. </span><span style="font-family: Arial, Helvetica, sans-serif;">Also, check out this s</span><a href="https://www.youtube.com/watch?v=utxrBST4cTU&feature=youtu.be" style="font-family: Arial, Helvetica, sans-serif;">hort documentary celebrating Black [American] sitcoms</a><span style="font-family: Arial, Helvetica, sans-serif;">. That's all for this week - some of what I've been reading, watching and listening to. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.youtube.com/watch?v=utxrBST4cTU&feature=youtu.be">Screenshot via YouTube</a></td></tr>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-37691352443467345972020-04-26T09:24:00.001+01:002020-04-26T10:02:59.699+01:00Read it! Loved it! More Lockdown Reads<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.pinterest.co.kr/pin/671388256922878350/?autologin=true">Image via Pinterest</a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I'm back with a round-up of my reads from the past week and, I must say, this time I read a mix of new and old articles. Here we go!</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Beginning with this piece from Paris Review on Senegalese writer, Mariama Ba, as part of their <a href="https://www.theparisreview.org/blog/2019/05/13/feminize-your-canon-mariama-ba/">feminise your canon </a>series. Then, moving on to The Republic's <i><a href="https://republic.com.ng/category/first-draft/">First Draft </a></i>series - <a href="https://republic.com.ng/first-draft/introducing-first-draft/">a weekly column about reading, books and writing</a>. This week's edition featured Nigerian writer, <a href="https://republic.com.ng/april-may-2020/genres-are-formless-protean-things-suyi-davies-okungbowa/">Suyi Davies Okungbowa</a>. Side note: I love the yellow aesthetics used for <i>First Draft</i>. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimU644wcZJWwPvBkbY93jXSHBmFRYcyMgD7ZM2SscesTTH7wgqCI3TpF6S8ZPlzx-Uqt-B1f7WhZ2Lqn888eec7R8X9jhSqx9ibqM04Ctqv_mVHF72VhK4lVIxtoVMxnoNnILVLNCBeKF2/s1600/Screenshot+2020-04-26+at+09.01.13.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="847" data-original-width="1600" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimU644wcZJWwPvBkbY93jXSHBmFRYcyMgD7ZM2SscesTTH7wgqCI3TpF6S8ZPlzx-Uqt-B1f7WhZ2Lqn888eec7R8X9jhSqx9ibqM04Ctqv_mVHF72VhK4lVIxtoVMxnoNnILVLNCBeKF2/s640/Screenshot+2020-04-26+at+09.01.13.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://republic.com.ng/april-may-2020/genres-are-formless-protean-things-suyi-davies-okungbowa/">Screenshot via The Republic</a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://twitter.com/ethiopienne?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor">Hannah Giorgis</a> might be one of my favourite culture writers, and the past week I spent a lot of time reading a number of Giorgis' articles. Starting with this brilliant piece centred on <a href="https://www.theatlantic.com/culture/archive/2020/02/bojack-horseman-series-finale-princess-carolyn-diane/605851/">Princess Carolyn and Diane Nguyen getting the endings they deserved </a>on BoJack Horseman (the series sixth, and final, season aired earlier this year).</span><br />
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<i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">"</span>For a series that spent so much of its running time exploring the interiority of one depressed, narcissistic (horse)man, BoJack closes out with a refreshingly broad purview - namely, one that appreciates the show's leading women as stand-alone characters rather than as mere accessories to the protagonist's growth.<span style="font-size: x-large;">"</span></span></i><br />
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Other articles from Hannah Giorgis I devoured this week includes <i><a href="https://www.theatlantic.com/culture/archive/2020/02/photograph-director-stella-meghie-black-romances/605992/">The Art of Shooting a Modern Black Romance </a></i>on <i>The Photograph</i> starring Issa Rae and Lakeith Stanfield and <i><a href="https://www.theatlantic.com/culture/archive/2020/03/twenties-lena-waithe-bet-black-artists/607549/">When Black Artists Make Mediocre Art</a></i>.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I am trying to keep my pandemic-related reads to a minimum, but I didn't do too well on that front this week. It was difficult as more beautiful writing was shared this week by African women on their personal experiences around what is happening in the world at the moment.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Novuyo Rosa Tshuma who writes about <a href="https://select.timeslive.co.za/amp/ideas/2020-04-24-as-i-stare-at-the-screen-i-think-of-the-missing-bodies/?__twitter_impression=true">embracing technology at the moment, "missing bodies", and the loss of a certain kind of intimacy</a>.</span><br />
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<i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">"</span></span></i><i><span style="font-family: "arial" , "helvetica" , sans-serif;">It is amazing just how much contact we usually engage in almost on a daily basis even in our contemporary, isolated lives ... As I make essential runs to the grocery store and to the park for exercise in the present climate, I am disoriented by how deserted and devoid of human presence the world around me is. Strangers whose proximity has been integral to my sense of being human are now missing bodies.</span></i><i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">"</span></span></i><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Another personal and honest piece about living in these current times comes from Rama Salla Dieng writing on being tired all the time due to <a href="https://www.coronatimes.net/parenting-home-working-covid-19/amp/?__twitter_impression=true">combining caring, parenting and home working</a>.</span><br />
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<i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">"</span></span></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>In reality, we were all grieving. We grieved as we realised the farce of it all. The precariousness and the fragility of it all. Our normal lives and our self-care routines.</i></span><i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">"</span></span></i><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Another one I read this week, includes Elizabeth Adetiba's piece on <a href="https://www.sbnation.com/platform/amp/2020/4/20/21227661/caster-semenya-world-athletics-regulation-body-racism?__twitter_impression=true">Caster Semenya and the cruel history of contested black femininity.</a> It looks at how the bodies of a growing number of athletes who are women and mostly from African countries, are put direclty in the crosshairs of World Athletics' regulations due to their hyperandrogenism</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Beyond reads, African Arguments have put together <a href="https://africanarguments.org/2020/04/03/stay-home-stream-african-tv-film-during-lockdown/">a watch-list of African films and TV show</a>s that can be streamed, while many of us stay at home. To that list, I'd like to add <a href="https://www.youtube.com/watch?v=Cv3BWPfBwYc">Atlantique</a> (<i>Atlantics</i> in English). There's also this short film <i><a href="https://www.youtube.com/watch?v=f3-9gZWscfs">Boys No Dey Cry</a></i>, on toxic masculinity, mental health, religion and family I learned about while reading this article on <a href="https://www.aljazeera.com/amp/indepth/features/language-denial-men-talk-mental-health-ghana-200414064651481.html?__twitter_impression=true">men's mental health in Ghana</a>. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I end with an <i><a href="https://www.shondaland.com/inspire/a13138172/brandy-whitney-houston-oral-history-cinderella/">Oral History of 1997's 'Cinderella'</a></i> - remember the one with Brandy as Cinderella and Whitney Houston as the Fairy Godmother? </span><span style="font-family: "arial" , "helvetica" , sans-serif;">And that's it - things I've read (and watched) the past week. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggMs1rL7xl6smna0aq9x1AB-8ifkU_9An3-1cs3oMoza4yUhRr3SdLkITxoHim__UySDYDIFiOdBZzwYxolYcFtq4Ay_0dSblrE_1flXIUsaM0yfimpWmI4sm3MeegANXY7pfWNiiF6PAL/s1600/Brandy+Cinderella.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="735" data-original-width="980" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggMs1rL7xl6smna0aq9x1AB-8ifkU_9An3-1cs3oMoza4yUhRr3SdLkITxoHim__UySDYDIFiOdBZzwYxolYcFtq4Ay_0dSblrE_1flXIUsaM0yfimpWmI4sm3MeegANXY7pfWNiiF6PAL/s640/Brandy+Cinderella.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.shondaland.com/inspire/a13138172/brandy-whitney-houston-oral-history-cinderella/">Brandy in her Cinderella dress. Photo by Debra Martin Chase. Image via Shondaland</a></td></tr>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-11326374978223385122020-04-17T21:30:00.001+01:002020-04-17T21:36:17.334+01:00Read it! Loved it! Lockdown Reads<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.pinterest.co.uk/pin/504403227019124606/">Not Tonight, I'm Reading by Vashti Harrison via Pinterest</a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A few years ago I started doing <a href="http://www.bookshybooks.com/search/label/Read%20It%21%20Loved%20It%21?max-results=6">a round-up of articles I read online</a>, and shared it here. I stopped after a while, but I wanted to start it back up again - at least for the time being. <span style="background: white;">It will mostly be centred on African literature or African-focused reads, but as I don't even follow my own rules a lot of the times - I might switch things up occasionally and share some non-African content that I've really enjoyed reading. Here we go!</span><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: white;">I'll start with the most recent article I read, <i><a href="https://mg.co.za/article/2020-03-26-history-begins-in-her-stories/">History begins in her stories</a>, </i>from Siphiwo Mahala who traces his own story with short stories beginning with his grandmother '<i>one of the most exceptional storytellers [he] ever came across</i>'. Mahala weaves her oral narratives with his own immersion into various forms of literature and South Africa's history of oral and written [short] stories. </span><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: white;">Next, is Pwaangulongii Daoud's <i><a href="https://lithub.com/portrait-of-kaduna-city-a-half-completed-story/">Portrait of Kaduna City, a Half Completed Story</a></i>, detailing why Daoud 'loves Kaduna more than any place'. </span><o:p></o:p></span></div>
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<i style="font-family: Calibri, sans-serif; font-size: 12pt;"><span style="background: white; font-family: "arial" , sans-serif; font-size: 11pt;">The city is not my birthplace. I came to it as a teenager. Which meant I had contained sentiment for other places before discovering this one. Kaduna is the city of my firsts: first heartbreak, first sex, first self-discovery, first books, first writing, first lies, first horror, first riot, first suicide attempt, first rejection. Maybe what I share with this city is not love.</span></i></blockquote>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://lithub.com/portrait-of-kaduna-city-a-half-completed-story/"><span style="font-size: x-small;">Screenshot via LitHub</span></a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Ayobami Adebayo, Chigozie Obioma, and Romeo Oriogun '</span><i style="font-family: Arial, Helvetica, sans-serif;"><span style="background: white;">reveal psychologically complex male interiors</span></i><span style="background: white; font-family: "arial" , "helvetica" , sans-serif;">' in this piece that <a href="https://www.worldliteraturetoday.org/2020/spring/nigerian-fiction-reenvisions-masculine-erik-gleibermann">probes masculinity in their works</a>. While </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Lucky Grace Isingizwe writes about </span><i style="font-family: Arial, Helvetica, sans-serif;"><a href="https://theliteraryplatform.com/stories/small-presses-creative-writing-workshops-literary-prizes-in-africa/">Small Presses, Creative Writing Workshops & Literary Prizes in Africa</a></i><span style="font-family: "arial" , "helvetica" , sans-serif;">, and how '</span><i style="font-family: Arial, Helvetica, sans-serif;">for <span style="background: white;">emerging African writers, small presses are more than a way to publish your work; they become a lifeline for learning writing craft and building networks that nurture connections and opportunities</span></i><span style="background: white; font-family: "arial" , "helvetica" , sans-serif;">'. Also read about Edwige-Renee Dro's new library, 1949, <a href="https://brittlepaper.com/2020/03/edwige-renee-dro-opens-feminist-library-abidjan/">focused on women's writing from the continent and diaspora</a>.</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: white;">I'm </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">keeping pandemic-related reads to a minimum, but must share Ukamaka Olisakwe's honest and heartfelt essay on </span><i style="font-family: Arial, Helvetica, sans-serif;"><a href="https://brittlepaper.com/2020/04/is-it-still-beautiful-motherhood-and-mental-health-during-a-pandemic-ukamaka-olisakwe-nonfiction/">Motherhood and Mental Health During a Pandemic</a></i><span style="font-family: "arial" , "helvetica" , sans-serif;">. As well, as this piece from Sisonke Msimang, </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://africasacountry.com/2020/03/homesick-notes-on-lockdown" style="font-style: italic;">Homesick: Notes on lockdown</a>.</span></blockquote>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Staying within the realm of literature, here are two pieces centred on Black literary foremothers in America. The first looks at </span><a href="https://www.refinery29.com/en-gb/harlem-renaissance-zora-neale-hurston-the-dark-tower" style="font-family: Arial, Helvetica, sans-serif;">Black women-led literary salons like A'Lelia Walker's The Dark Tower</a><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> by Jamia Wilson. The second is a long, but brilliant read on </span><a href="https://bittersoutherner.com/the-sum-of-life-zora-neale-hurston" style="font-family: Arial, Helvetica, sans-serif;">The Life of Zora Neale Hurston</a><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> by Michael Adno. </span></div>
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<tr><td class="tr-caption"><a href="https://bittersoutherner.com/the-sum-of-life-zora-neale-hurston"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Image via Bitter Southerner</span></a></td></tr>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Moving beyond literature, it was extremely insightful to read about <i>T<a href="https://pulitzercenter.org/reporting/last-french-speakers-lagos">he Last French Speaker in Lagos</a></i> - a tiny community of French speakers in Lagos who can trace their roots to the nearby border with Benin. In the world of music, if you haven't heard about the controversial Nigerian artist, <a href="https://www.theguardian.com/music/2020/apr/08/rapper-naira-marley-ibig-bum-qualifications-nigeria-marlians">Naira Marley and his Marlian ideology</a>, Yomi Adegoke has you covered. For more music coverage, here's a piece on <a href="https://www.rollingstone.com/music/music-latin/dino-dsantiago-kriola-album-974357/">the Lusophone sounds</a> of Cape Verde-born, Lisbon-based singer Dino D'Santiago. </span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Not an article, but definitely check out <a href="https://www.project3541.com/about/">Project 3541</a>, a collection of photographs of the 1935-41 war between Ethiopia and Italy. Another really cool website, with some fab articles on the Black British experience, is the <a href="https://artsandculture.google.com/project/black-cultural-archives">Black Cultural Archives</a>. It's an amazing resource with tons of pieces to keep you entertained and informed, such as this one on <a href="https://artsandculture.google.com/story/UQVx6lQv6ykr-A">Black British Pop Culture and the History of Protests</a> and the <a href="https://artsandculture.google.com/exhibit/the-black-women-s-movement/SAICVgWeiBZ-Ig">Black Women's Movement </a>and its role within British feminism. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">That's all for now. What I've read and loved recently.</span></div>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-39875217518253926572019-12-17T12:03:00.001+00:002019-12-17T12:26:33.590+00:00Twenty Books Published in the 2010s I Loved<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">I went back and forth on whether to do a decade in review post or not. In the end, I decided to do one focused on books I loved that have been published in the 2010s. I couldn't do a 'best of' list, mostly because I haven't read all books published this decade. So, it would be inaccurate to create a list of that nature. Lists also by their very nature are subjective. This one is not any different. This particular list is also extremely personal - while all of the books on the list are on it for their brilliant writing, some are also on it for the positive feelings I get whenever I think about them. This list was also a lot longer initially - over forty books at one point, but I <strike>challenged</strike> forced myself to narrow it down. In the end, I have twenty books - mostly novels and short story collections, although an anthology and a couple of non-fiction titles made it on the list. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh7qBSD2d5miFt13RmvgsAr4xU0Ce_1_L59zmz0Df_AgEhlGscM2ZafXe70BSlvhS6ZIJ4nRfnneiZVeajm8eTPq1O6885g_U7FdUsN5EDEIGuZ1Pf3EWU1iQkOj_-khT-SvWcikcJbo9t/s1600/decade.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><img border="0" data-original-height="1361" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh7qBSD2d5miFt13RmvgsAr4xU0Ce_1_L59zmz0Df_AgEhlGscM2ZafXe70BSlvhS6ZIJ4nRfnneiZVeajm8eTPq1O6885g_U7FdUsN5EDEIGuZ1Pf3EWU1iQkOj_-khT-SvWcikcJbo9t/s640/decade.jpeg" width="507" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The list begins with a book that really re-ignited my love for African literature - <i>The Secret Lives of Baba Segi's Wives </i>by Lola Shoneyin. This, along with Chika Unigwe's <i>On Black Sisters' Street </i>(not on this list as it wasn't published in the 2010s), were the two books I ordered online back in Autumn of 20</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">10 when I was actively searching for books written by women writers that were African. </span><span style="font-family: arial, helvetica, sans-serif; font-size: medium;">The list ends with </span><i>Afro SF Volume 1</i><span style="font-family: arial, helvetica, sans-serif; font-size: medium;"> edited by Ivor Hartmann - a brilliant collection that I truly believe is extre</span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">mely significant in the contemporary African SFF canon. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It was very difficult to narrow down the books, but here's my decade in review with twenty books I loved. I should add, not all books have been reviewed on this blog, but where they have I've shared a link. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Twelve novels made my final list, including ones with strong feminist themes, told in hilarious ways (<i>The Secret Lives of Baba Segi's Wives</i>) and epic stories of love, heartbreak, loss/sadness (<i>What the Day Owes the Night</i>, <i>The Memory of Love</i>, <i>Stay With Me</i>). Historical fiction in its many guises also made the list (<i>The Moor's Account</i>, <i>Kintu<u>,</u> Homegoing</i>), as well as SFF (<i>Taty Went West</i>), stories re-imagining youthfulness (<i>Tomorrow I'll be Twenty</i>), being elderly (<i>Like A Mule Bringing Ice-cream to the Sun</i>) and being an immigrant (<i>Foreign Gods, Inc.</i>). Here they are.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The Secret Lives of Baba Segi's Wives</i> by Lola Shoneyin (2010)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Absolutely loved this book when I read it in 2011 about a clueless and chauvinistic polygamist and his four wives who all share a secret, which is gradually revealed once wife number 4 - Bolanle - arrives. Check out my <a href="http://www.bookshybooks.com/2012/01/book-review-lola-shoneyins-secret-lives.html">mini-review</a> here.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAqntGcn1Jqw1gWRH42skUa2D3LUS4GaHWc69C6Bu3Q1nmkwiAVqFhN6B-M7GN0mpcPnRflzG6pCZ67y6WveeCqI3q2Nldf07GdsBS5emoBXG-r-BmwtauUd9KiPQCBnepCXyJO34DKbne/s1600/book5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="612" data-original-width="383" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAqntGcn1Jqw1gWRH42skUa2D3LUS4GaHWc69C6Bu3Q1nmkwiAVqFhN6B-M7GN0mpcPnRflzG6pCZ67y6WveeCqI3q2Nldf07GdsBS5emoBXG-r-BmwtauUd9KiPQCBnepCXyJO34DKbne/s640/book5.jpg" width="400" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>What the Day Owes the Night</i> by Yasmina Khadra (English translation in 2010) </b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">This book will forever hold a special place in my heart for the beautiful and heartbreaking way it tells the story of the relationship between Algeria and France, through the life of a young boy, who struggles with his identity as Algerian (Younes - the name he was born with) and French (Jonas - the name he is given when he moves to the European district and is raised by his wealthier uncle). Read it in 2012 and check out my </span><span style="font-size: large;"><a href="http://www.bookshybooks.com/2012/04/book-review-yasmina-khadras-what-day.html">review</a> here.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxTfaMQsReqQU7yeltOw0E5IGDSaB4EEA08v5a1MKVovr2Q_lukhZC7Sz9nLudW9p8RGgP_zy8P8-D9ShLzaV4xnmt39WnOAGakfw2kY0FzgmPZiNRi7VLq86HU1aVxaxHqO1ccqpSEKM0/s1600/book4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="325" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxTfaMQsReqQU7yeltOw0E5IGDSaB4EEA08v5a1MKVovr2Q_lukhZC7Sz9nLudW9p8RGgP_zy8P8-D9ShLzaV4xnmt39WnOAGakfw2kY0FzgmPZiNRi7VLq86HU1aVxaxHqO1ccqpSEKM0/s640/book4.jpg" width="412" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The Memory of Love</i> by Aminatta Forna (2010)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Read this haunting story about the impact of Sierra Leone's civil war in 2012. It's told through the memory of love from the perspective of three characters: Elias Cole (a dying historian), Adrian Lockheart (a British psychologist) and Kai Mansaray (a young Sierra Leonean surgeon). Check out my <a href="http://www.bookshybooks.com/2012/01/book-review-aminatta-fornas-memory-of.html">mini-review</a> here.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="http://www.bookshybooks.com/2012/01/book-review-aminatta-fornas-memory-of.html"><img border="0" data-original-height="475" data-original-width="309" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuYBvgmv4ryLqOiippJ0fILsVGtTF2M8-Ofcw5QJzo1h6RlFjb9-Tpg9v3pavMsEfUadOcBJ441UH0RPeNxdMsyThzkTPt5-2GprMZX96mTdGe2yo05COW4-c6q-6OQQNPvKCDWTYE_Sr/s640/books14.jpg" width="410" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Tomorrow I'll Be Twenty</i> by Alain Mabanckou (English translation in 2013)</b> [honestly, <a href="http://www.bookshybooks.com/2017/06/me-myself-and-alain-on-my-mission-to.html">everything published by Alain Mabanckou in the last decade</a>]</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">This fictionalised memoir of Alain Mabanckou's childhood, which I read in 2013, is narrated by ten-year-old Michel, living in Pointe Noire, Congo in the 1970s. Through Michel, we get a sense of local and global historical events and how they are perceived through a child's eyes. Check out my <a href="http://www.bookshybooks.com/2013/06/book-review-alain-mabanckous-tomorrow.html">review</a> here. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinOHGYgxvmwHEZE5DSuQBY_Y6boBhRq5PqIQZKoZkwrGFK1IdhZKkxULpnLWvYRtRWuxWU5RkZF34OlbB8Riva6sBSI3knnpMSJeO77TyhX83b0XAsXM2txDk2BYJAPQkJkAdpmb-ku8LB/s1600/book9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="552" data-original-width="363" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinOHGYgxvmwHEZE5DSuQBY_Y6boBhRq5PqIQZKoZkwrGFK1IdhZKkxULpnLWvYRtRWuxWU5RkZF34OlbB8Riva6sBSI3knnpMSJeO77TyhX83b0XAsXM2txDk2BYJAPQkJkAdpmb-ku8LB/s640/book9.jpg" width="420" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The Moor's Account</i> by Laila Lalami (2014)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">An extraordinary story! Yet, I will admit that when I first picked it up in 2017, I really wasn't feeling it. I let it go, picked it back up a few weeks later, and I fell.in.love. Estebancio was one of four survivors of a Spanish expedition to what is now Florida in America, but being African (a Moroccan slave), his story was never told. 500 years later, Laila Lalami provides a fictionalised account of his story. I <a href="http://www.bookshybooks.com/2018/03/what-books-by-african-women-writers.html">absolutely adore this book</a>. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheMI0t9gnZRvzhxugnxOP9ibeLWDPfxqh5PJf9VvQ_uUJLsbi1fZmjOFvp8BY3TsrboDVRf7NhpJ0DY-ZTH77Ea6_M0UzP9Y1eA8N5C9WrbkL6AUXJfV-0Fi3YIA8rRhSE0IDBxxcMfyFo/s1600/book1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><img border="0" data-original-height="499" data-original-width="346" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheMI0t9gnZRvzhxugnxOP9ibeLWDPfxqh5PJf9VvQ_uUJLsbi1fZmjOFvp8BY3TsrboDVRf7NhpJ0DY-ZTH77Ea6_M0UzP9Y1eA8N5C9WrbkL6AUXJfV-0Fi3YIA8rRhSE0IDBxxcMfyFo/s640/book1.jpg" width="442" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Kintu</i> by Jennifer Nansubuga Makumbi (2014)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">I read this one on a flight back to London from Entebbe in 2016 following the Writivism festival in Kampala, and I was instantly sucked into the world Makumbi created. Historical fiction following a family across generations and with mythical elements and a curse. <a href="http://www.bookshybooks.com/2018/03/what-books-by-african-women-writers.html">What's not to love</a>? </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcE7Uib9PDaEYH_2M63fxxX612RJd9mtBf7zn17EnYhokVEQTZiKOQ55KLGF9aKhHa-Izx8imVNbprE3aZfFR4MyxkaRYHC_Yu4WyGOF9fXvcqJwHFkGhc3npWs0rZsL42SONGux65tRga/s1600/book3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><img border="0" data-original-height="300" data-original-width="200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcE7Uib9PDaEYH_2M63fxxX612RJd9mtBf7zn17EnYhokVEQTZiKOQ55KLGF9aKhHa-Izx8imVNbprE3aZfFR4MyxkaRYHC_Yu4WyGOF9fXvcqJwHFkGhc3npWs0rZsL42SONGux65tRga/s640/book3.jpg" width="426" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Foreign Gods, Inc</i> by Okey Ndibe (2014)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Would you steal a god from your hometown in Nigeria, and bring it all the way back to America to be able to make a fortune by selling it to a museum? In <i>Foreign Gods, Inc.</i>, Ike thinks it's a great idea. As the books reveals, it really isn't. Check out the <a href="http://www.bookshybooks.com/2014/11/my-conversation-with-okey-ndibe.html">review</a> and write-up of my first ever <a href="http://www.bookshybooks.com/2014/11/my-conversation-with-okey-ndibe.html">in-conversation</a> in 2014 with a writer. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTnEF0vdkyipJYbIlsQHmgzKruY9iZ_oa156uN_Olw_bOfWeKAt2qUrtyP-n66Mv4btG_baWON-V-jm_Dpv5nzDLcvQMX2Tmhe1rGgAOo-YQFaB4QHEzJ5sG3KI08Equ2n_ue71Q6oV3I8/s1600/book6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><img border="0" data-original-height="499" data-original-width="337" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTnEF0vdkyipJYbIlsQHmgzKruY9iZ_oa156uN_Olw_bOfWeKAt2qUrtyP-n66Mv4btG_baWON-V-jm_Dpv5nzDLcvQMX2Tmhe1rGgAOo-YQFaB4QHEzJ5sG3KI08Equ2n_ue71Q6oV3I8/s640/book6.jpg" width="430" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Butterfly Fish </i>by Irenosen Okojie (2015)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">I am so glad I was invited to do a book chat with Irenosen Okojie at Ake Festival in 2015 - otherwise, I never would have read <i>Butterfly Fish</i>, and I would have sorely missed out on this debut from an excellent storyteller. Another intergenerational historical fiction on the list. This time set between 19th century Benin, 1960s Lagos and modern-day London. Check out my <a href="http://www.bookshybooks.com/2016/03/butterfly-fish-stunning-debut-from.html">review</a> here.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Taty Went West </i>by Nikhil Singh (2015)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background-color: white; text-align: justify;">Told in 4-parts, </span><i style="background-color: white; margin: 0px; padding: 0px; text-align: justify;">Taty Went West </i><span style="background-color: white; text-align: justify;">is an absolutely terrifying and thrilling read. Honestly, it's bonkers and dark and twisted and fascinating. I read it in 2016, and loved it so much I read a 400+ page book in one day. Check out my </span><a href="http://www.bookshybooks.com/2016/09/on-nikhil-singhs-taty-went-west.html">review</a> here.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Like A Mule Bringing Ice-Cream to the Sun</i> by Sarah Ladipo Manyinka (2016)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Dr. Morayo Da Silva is the coolest soon-to-be 75-year-old on the block. A Nigerian woman living in San Francisco, she drives a Posrche (Buttercup), wears toe-rings and wants a tattoo. I'm not even as cool as Dr. Morayo right now, but maybe something will change. So much life in this short, slim book. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Homegoing</i> by Yaa Gyasi (2016)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Another book I couldn't put down, and read in one sitting on a flight in 2016 from London to Kathmandhu. I remember I planned to read a couple of chapters, watch a movie during the flight, and then sleep. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">That didn't happen. </span><i style="font-family: arial, helvetica, sans-serif;"><span style="font-size: large;">Homegoing</span></i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> packed so much history, richness, complexity and honesty in 300 pages. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Stay With Me</i> by Ayobami Adebayo (2017)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">I was fortunate enough to get a proof of <i>Stay With Me </i>prior to its publication and this became my last read of 2016. A heartbreaking story <span style="background-color: white;">centred on a Nigerian couple - Yejide and Akin - and the depths people go through to have a child, particularly with pressure from family and society. Beautifully written, real and honest debut.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Short Story Collections</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">If you ever said to me short stories would be my go-to form of literature, I would have said "nope," but over time I have come to appreciate and respect the art of the short story. Five collections made it on my list, starting with A Igoni Barrett's <i>Love is Power or Something Like That </i>(My Smelling Mouth Problem has lingered on with me all these years). The rest are all either heavily fantasy or science fiction or draw on those themes (<i>Speak Gigantular</i>, <i>What It Means When A Man Falls From the Sky, Friday Black, Intruders</i>).</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Love is Power Or Something Like That</i> by A Igoni Barrett (2013)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">I remember reading this in 2013, and thinking "Am I starting to like short stories?" Nine short stories, with Nigeria forming the backdrop, and revealing to us that love is power, or something like that. Check out my <a href="http://www.bookshybooks.com/2013/04/book-review-igoni-barretts-love-is.html">mini-review</a> here. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Speak Gugantular </i>by Irenosen Okojie (2016)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background-color: white; margin: 0px; padding: 0px;">I read</span><span style="background-color: white; margin: 0px; padding: 0px;"> </span><span style="background-color: white; margin: 0px; padding: 0px;">Ireonsen Okojie's <i style="margin: 0px; padding: 0px;">Speak Gigantular</i> late 2016, while in Jos for work. It felt like <i style="margin: 0px; padding: 0px;">Speak Gigantular </i>was written for women like me <a href="http://www.bookshybooks.com/2018/03/what-books-by-african-women-writers.html">who love reading about weird and twisted things</a>. A</span><span style="background-color: white; margin: 0px; padding: 0px;">fter reading it I posted on instagram that it was "</span><i style="background-color: white; margin: 0px; padding: 0px;">without a doubt ... now one of my favourite short story collections. It's so so so good. It's also really disturbing, but I like my oh so very weird and wonderful reads."</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>What It Means When A Man Falls from the Sky </i>by Lesley Nneka Arimah (2017)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">What a remarkable debut! This I read the summer of 2017, and if it's not clear that I am a fan of writing that is surreal, here's another a writer that speaks to my heart. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Friday Black</i> by Nana Kwame Adjei-Brenyah (2018)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">I didn't want <i>Friday Black </i>to end when I read it late last year (2018). It's dark, it's strange (noticing a theme), it's raw and it's so honest. A <a href="https://twitter.com/bookshybooks/status/1052673453394935811?s=20">mini Twitter thread</a> on it. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Intruders </i>by Mohale Mashigo (2018)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background-color: white; color: #262626;">A really clever collection. </span><span style="background-color: white; color: #262626;">Be advised, this isn't 'Afrofuturism' because as Mashigo writes "Afrofuturism is not for Africans living in Africa," as "Africans, living in Africa, need something entirely different from Afrofuturism." Mashigo didn't coin a phrase for the kind of speculative fiction she writes, which draws "from South African folklore and urban legends," but Mashigo gives us the license to do so - as long as we don't call it "Motherland Futurism." As I wrote on Instagram when I first read this book last year, "</span><span style="background-color: white; color: #262626;">I leave the naming of things to the experts, but what I will say for now is that the stories in <i>Intruders</i> puts 'ordinary people' in not so ordinary circumstances and we get to see how they react in these situations." Also a </span><a href="https://twitter.com/bookshybooks/status/1048197884875853826?s=20">mini twitter thread</a> here.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Short books (non-fiction)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">This list is heavily fiction-based (I am completely aware), but two standout books for me this decade were published in 2018 - <i>A Stranger's Pose </i>and <i>These Bones Will Rise Again.</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>These Bones Will Rise Again</i> by Panashe Chigumadzi (2018)</b></span><br />
<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">"There are many questions and I am looking for answers. The kind of answers that slip past the facts of history books or analysis by pundits and experts." </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Brilliant writing in </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Panashe Chigumadzi's long-form essay.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>A Stranger's Pose</i> by Emmanuel Iduma (2018)</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background-color: white;">There really is only one word in my vocabulary I can use to describe <i>A Stranger's Pose -</i> "beautiful". I savoured every word, every sentence, every paragraph, every image. My </span><a href="http://www.bookshybooks.com/2018/10/emmanuel-idumas-strangers-pose-my.html">review</a> here.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Anthologies</b></span><br />
<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>AfroSF Volume 1 </i>Edited by Ivor Hartmann (2012)</span></b><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">All I can say is thank you to Ivor Hartmann for editing this collection said to be the "first ever anthology of Science Fiction by African writers." It has previously unpublished works established and emerging writers, with stories from Nnedi Okorafor, Sarah Lotz, <a href="http://www.bookshybooks.com/2012/01/book-review-tendia-huchus-hairdresser.html">Tendai Huchu</a>, <a href="http://www.bookshybooks.com/2016/05/an-alternate-modern-south-africa-nick.html">Nick Wood</a> and Tade Thompson. My <a href="http://www.bookshybooks.com/2012/11/book-review-afrosf-science-fiction-by_23.html">review</a> here. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Honourable Mentions</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">My original list had over 40 books on it. So, it's only right that I mention some of the books that were on in it including <i><a href="http://www.bookshybooks.com/2012/12/book-review-eghosa-imasuens-fine-boys.html">Fine Boys</a></i> by Eghosa Imasuen (2011), <i><a href="http://www.bookshybooks.com/2012/08/book-review-shubnum-khans-onion-tears.html">Onion Tears</a></i> by Shubnum Khan (2011) (Khan also did the illustrations in <i>Intruders</i>), and Tade Thompson's horror novella, <i>The Murders of Molly Southbourne </i>(2017). </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Finally, I also want to mention a couple of brilliant books (not including in this list) that were shared with me via Instagram - <i>Beneath the Lion's Gaze </i>(2010) by Maaza Mengiste and <i>Collective Amnesia</i> by Koleka Putuma (2017). </span><br />
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-44290228202930674042019-12-12T07:47:00.000+00:002019-12-12T07:47:10.709+00:00On Eight Years of Blogging<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://nichollekobi.com/">Illustration by Nichole Kobi</a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It's been eight years ... of extremely erratic blogging and unfinished ideas, but today I celebrate eight years of bookshy. It's our anniversary. Whoop! Whoop! </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As I write this, I smile thinking about the joy this blog has brought me, even though in recent years with life, work and everything in between it has been extremely difficult to do this as much as I would like to. Still, it's been an amazing time and I can't believe how <a href="http://www.bookshybooks.com/2011/12/new-beginnings.html">five sentences</a> written on the living room floor in my family home in Ikeja back in December 2011 led to this wonderful ride. </span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I initially wanted to use this post to reflect on the last eight years, but <a href="http://www.bookshybooks.com/2018/12/this-is-seven.html">a</a></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.bookshybooks.com/2018/12/this-is-seven.html"> lot has happened since then</a> - including time flying quicker than I realised (goodbye mid-twenties, hello early thirties). </span><span style="font-family: "arial" , "helvetica" , sans-serif;">There's also been a lot of updates. The more recent one being that </span><span style="font-family: "arial" , "helvetica" , sans-serif;">I've moved ... yet again. If you're interested in my non-literary travel journey, it's all <a href="https://www.instagram.com/journeyingzee/">here</a>. </span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I also</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> became the editor of a new online quarterly literary magazine,</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><a href="http://www.rewritereads.com/" style="font-family: Arial, Helvetica, sans-serif;">REWRITE READS</a><span style="font-family: "arial" , "helvetica" , sans-serif;">, featuring writing by Black Women & Women of Colour from across the globe. We launched our first issue on November 11, with brilliant short stories that I am so proud to have published. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">So, please check it out and subscribe to read more outstanding writing. </span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">There are still so many things I want to do, and I am yet to do. Many ideas I have that both excite and overwhelm me. For now,</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> huge, huge thank you to everyone that follows the blog (either here, on <a href="https://www.facebook.com/bookshybooks/?ref=aymt_homepage_panel&eid=ARBwa2JehguQxr6cOVJESdNnz3m8Sn1x7nrnT7NsoavumEJoLSBISn4Dxq1I29bpnuAWOZlijfLLa62E">Facebook</a>, <a href="https://twitter.com/bookshybooks">Twitter</a> or <a href="https://www.instagram.com/bookshybooks/">Instagram</a>), shares the posts, and has been with me on this journey (even with my very inconsistent blogging). I truly hope you enjoy reading them as much as I enjoy putting them together. </span></span></div>
bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-57259793248692515942019-12-02T23:06:00.001+00:002019-12-07T19:36:36.528+00:00A 2020 (African) Literary Calendar<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It's that time of year when I happily scour the internet for new releases for the next year - fully aware there are books I am yet to read from the current year. Still, with debuts and favourites returning, 2020 looks pretty exciting. Here are 30+ books for 2020 and 1 for 2021. PS. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Click on images for more details and link to sources of the blurbs.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><span id="goog_1359291972"></span><i>Riot Baby </i>by Tochi Onyebuchi<span id="goog_1359291973"></span></b> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Ella has a Thing. She sees a classmate grow
up to become a caring nurse. A neighbour's son murdered in a drive-by shooting.
Things that haven't happened yet. Kev, born while Los Angeles burned around
them, wants to protect his sister from a power that could destroy her. But when
Kev is incarcerated, Ella must decide what it means to watch her brother suffer
while holding the ability to wreck cities in her hands. </span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Rooted in the hope that can live in anger, </span><em style="box-sizing: border-box; font-family: Arial, Helvetica, sans-serif;">Riot
Baby </em><span style="font-family: "arial" , "helvetica" , sans-serif;">is as much an intimate family story as a global dystopian
narrative. It burns fearlessly toward revolution and has quietly devastating
things to say about love, fury, and the black American experience.</span></span></div>
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<o:p><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">February 2020</span></b></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Black Sunday</i> by Tola Rotimi Abraham </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Twin sisters Bibike and Ariyike are enjoying a relatively comfortable
life in Lagos in 1996. Then their mother loses her job due to political strife,
and the family, facing poverty, becomes drawn into the New Church, an
institution led by a charismatic pastor who is not shy about worshipping
earthly wealth.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Soon Bibike and Ariyike’s father wagers the family home on a “sure bet”
that evaporates like smoke. As their parents’ marriage collapses in the
aftermath of this gamble, the twin sisters and their two younger siblings,
Andrew and Peter, are thrust into the reluctant care of their traditional
Yoruba grandmother. Inseparable while they had their parents to care for them,
the twins’ paths diverge once the household shatters. Each girl is left to
locate, guard, and hone her own fragile source of power.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Written with astonishing intimacy and wry attention to the fickleness of
fate, Tola Rotimi Abraham’s <i>Black Sunday</i> takes us into the
chaotic heart of family life, tracing a line from the euphoria of kinship to
the devastation of estrangement. In the process, it joyfully tells a tale of
grace and connection in the midst of daily oppression and the constant
incursions of an unremitting patriarchy. This is a novel about two young women
slowly finding, over twenty years, in a place rife with hypocrisy but also
endless life and love, their own distinct methods of resistance and paths to
independence.</span></div>
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<a href="https://books.catapult.co/products/black-sunday-a-novel-by-tola-rotimi-abraham"><span style="font-size: large;"><img border="0" data-original-height="1600" data-original-width="1060" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT_5SykZenPObzKdwg6DU11aHbWbwTuqxNyBA0fXHDKUo0mVsMyZXj7tk2KhEFjdEBPmNw8pauNj1BALz1LS0qZnOFctGv1SC2-soF1dF_JOxV-S90BOUJX4JwMrjSc7XekG3wtLERQkuV/s640/2020.2.jpg" width="420" /></span></a></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white;"><i>Sex and Lies</i> by Leila Slimani</span></b></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background: white;">The first work of
non-fiction in English from the prize-winning and internationally bestselling
author of Lullaby and Adele</span><br style="-webkit-text-stroke-width: 0px; box-sizing: border-box; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"><br style="-webkit-text-stroke-width: 0px; box-sizing: border-box; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">In these essays, Leila Slimani gives voice to young Moroccan
women who are grappling with a conservative Arab culture that at once condemns
and commodifies sex. In a country where the law punishes and outlaws all forms
of sex outside marriage, as well as homosexuality and prostitution, women have
only two options for their sexual identities: virgin or wife. Sex and Lies is
an essential confrontation with Morocco's intimate demons and a vibrant appeal
for the universal freedom to be, to love and to desire.</span></span><o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"><span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"><br /></span></span></span></span></div>
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<a href="https://www.bookdepository.com/Sex-Lies-Leila-Slimani/9780571355037"><span style="font-size: large;"><img border="0" data-original-height="499" data-original-width="313" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizjQMCSWkziY4rzHHoOj67ta6BefvOzQF4ZCPDLNIrhmtHxRw3cpJpX41R_-bWXRXrd0eunHJ1FR-0vOePoMALo-jLLyx4XUp7gAaYPptK11ezcwpEbh8frrM7aPBznmI-roJOwIQ1dflM/s640/2020.3.jpg" width="401" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Nairobi Noir </i>edited by Peter Kimani </b><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Nairobi Noir </i>brings together some of Kenya’s most exciting and acclaimed writers, in this<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">celebration of noir writing, played out on the streets of Nairobi.<o:p></o:p></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">“Although the range of issues explored in Nairobi Noir is as diverse as its contributors, it all gestures </span><span style="font-family: "arial" , "helvetica" , sans-serif;">toward a common theme. In this concrete jungle, the hunters and herders live on. As do the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">hunted...”- Peter Kimani, introduction</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Featuring brand new stories from: Ngũgĩ wa Thiong'o, Stanley Gazemba, Ngumi Kibera, Peter </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Kimani, Winfred Kiunga, Kinyanjui Kombani, Caroline Mose, Kevin Mwachiro, Wanjikũ wa </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Ngũgĩ, Faith Oneya, Makena Onjerika, Troy Onyango, J.E. Sibi-Okumu, and Rasna Warah.</span></span></div>
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<a href="https://cassavarepublic.biz/product/nairobi-noir/?v=cd32106bcb6d"><span style="font-size: large;"><img border="0" data-original-height="400" data-original-width="255" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv8O5XElMKx79kMiuE4XusMtW8JOus1f2fvcB_Q7iQEPzerHPrp5ilc36S10FIxRKI48cNT-391gsa4s-Di27XHSYIw5TxhdwWWmFNtiHfufZu4CP8wCNDnZl4VAWytK5-nS_eIQsUrWse/s640/2020.21.jpeg" width="408" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The
Book of Echoes by Rosanna Amaka</b><o:p></o:p></span></div>
<div style="background: white; margin-bottom: 10.5pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b><i>A sweeping, uplifting story of how a boy from Brixton and a girl
from Lagos escape their dark past and find themselves a bright future</i></b><o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: 10.5pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">1981,
and England looks forward to a new decade. But on the streets of Brixton, it’s
hard to hold onto your optimism, especially if you are a young black man.
Racial tensions rumble, and now Michael Watson might land in jail for a crime
he did not commit.<o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: 10.5pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Thousands
of miles away, village girl Ngozi abandons her orange stall for the chance to
work as a maid. Alone in a big city, Ngozi’s fortunes turn dark and soon both
her heart and her hopes are shattered.<o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: 10.5pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">From
dusty roads to gritty pavements, Ngozi and Michael’s journey towards a better
life is strewn with heartache and injustice. When they finally collide, their
lives will be transformed forever.<span style="color: #333333;"><o:p></o:p></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">
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<b><span style="color: #333333;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">With irresistible joy and grace, Rosanna Amaka tells of people
moving between worlds, and asks how we can heal and rescue one another. </span></span></b></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<b><span style="color: #333333;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.penguin.co.uk/books/1118143/the-book-of-echoes/9780857526717.html"><img border="0" data-original-height="708" data-original-width="441" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZJWlnitNUEbYZkfNj4irpRYlL8To-zFIZNoY-1CqZ59xzm3beRhCgOsNAbolhOlxuErTESKolxTyuUGpyvBfuyncmCdKxKT7v1WD4KYVseQaKMSOfAIjtt1geisoi9-U79dZxrgdzPOpy/s640/2020_29.jpg" width="394" /></a></div>
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<b><span style="color: #333333; font-family: "Arial",sans-serif; font-size: 10.0pt;"><br /></span></b></div>
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<o:p><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">March 2020</span></b></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Sensuous Knowledge</i> by Minna Salami </b></span></div>
<div style="background: white; margin-bottom: 10.5pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>‘For the master’s tools will never dismantle
the master’s house. They may allow us to temporarily beat him at his own game,
but they will never enable us to bring about genuine change.’</i><o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: 10.5pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Taking Audre Lorde’s influential essay <i>The
Master’s Tools Will Never Dismantle The Master’s House</i> as a central
inspiration, Minna Salami explores what Audre Lorde raised, but never answered:
If not the master’s tools, then what? <i>Sensuous Knowledge</i> is
her attempt to provide a new ‘toolkit’ for challenging the status quo that is
at once empowering, transcendental and practical. Combining the playfulness of
a storyteller with the interrogating gaze of a social critic, the book pries
open and questions systems of imperialist, patriarchal power that have
dominated cultures and ways of thinking for centuries, and puts forward a new
approach to knowledge. As Salami herself puts it: ‘I realised that to change
society, one must first change oneself. But to change myself, I did not merely
need <i>new</i> knowledge; I needed a new <i>understanding</i> of
knowledge.’<o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Drawing on a range of traditions, including personal
narrative, feminist theory, popular culture, philosophy and African myth, <i>Sensuous
Knowledge </i>offers a bold, Africa-centred and feminist vision of hope
for a world in crisis, and shatters our illusions around gender, race and
power.<o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.zedbooks.net/shop/book/sensuous-knowledge/forthcoming/"><span style="font-size: large;"><img border="0" data-original-height="1500" data-original-width="947" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh-c0a_92YcOR6MT8ploDRurkUxAR7BmV5_6wUGq5h30gDB-meMwThUFnXEtPoQW2Jga3vHkPFaS8XNfAU4dIqzBxo-OzoiJQXrwQkbxHTtDU3Z6gvxo_Y-NTvt6Wl35lECUSQ-L7Lu80r/s640/2020.4.jpg" width="401" /></span></a></div>
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>An Act of Defiance</i> by Irene Sabatini</b></span></div>
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<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Harare, 2000. <o:p></o:p></span></span></div>
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<span style="font-size: large;"><span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Gabrielle is a newly qualified lawyer fighting for
justice for a young girl. Ben is an urban and charismatic junior diplomat,
attached to Harare with the American embassy. Robert Mugabe's youth wing
terrorized his political opponents as he tightens his grip on power, they begin
a tentative love affair. But when they fall victim to shock, their lives
split across continents and their stories diverge, forcing Gabrielle on a painful
journey towards self-realisation.</span></span></span><br />
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<a href="https://www.theindigopress.com/an-act-of-defiance"><span style="font-size: large;"><img border="0" data-original-height="278" data-original-width="181" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigBDnum5JifaYAFJRixOSKKcP0zI_L8WVYfh_pViLLtiissIwsa_pkk3yMvVC-wL3qzZLC5TxqnHkwxmxWUGs_vLJ_JzZ9hGeXWdKQOY7v3c_3rVbjKeE12x_fvP6TJ8UD-bYRBGaJDeaS/s640/2020.18.jpeg" width="417" /></span></a></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>The Death of Comrade President </i>by Alain
Mabanckou (translated by Helen Stevenson) </b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">No one said coming of age in post-colonial
Africa would be easy … In Pointe-Noire, in the small neighbourhood of Voungou, on
the family plot where young Michel lives with Maman Pauline and Papa Roger,
life goes on. But Michel’s everyday cares – lost grocery money, the whims of
his parents’ moods, their neighbours’ squabbling, his endless daydreaming – are
soon swept away by the wind of history. In March 1977, just before the arrival
of the short rainy season, Comrade President Marien Ngouabi is brutally
murdered in Brazzaville, and not even naïve Michel can remain untouched.
Starting as a tender portrait of an ordinary Congolese family, Alain Mabanckou
quickly expands the scope of his story into a powerful examination of
colonialism, decolonisation and the dead ends of the African continent. At a
stroke Michel learns the realities of life – and how much must change for
everything to stay the same.<o:p></o:p></span></div>
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<a href="https://serpentstail.com/media/wysiwyg/STcatalogue_Spring_20_-_FINAL_-_WITH_COVER_-_SINGLES.pdf"><span style="font-size: large;"><img border="0" data-original-height="500" data-original-width="312" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjitoXCSxPHjXigh-MT2HwMT3TSGv3_YwZUh6Hun-b37xQAkdp8SCRKOc6KnwPNyVZVy9JzgJeVbeakhATyfREYoaTZdeL_6IAgOLdTAPxkFvKnUv8XBsE3kkYecXLBC5IGHsZIGzwXIuFR/s640/2020.5.jpg" width="392" /></span></a></div>
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<span style="background: white; font-family: "arial" , sans-serif;"><span style="font-size: large;"><b><i>‘mamaseko</i> by Thabile Makue</b></span></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "arial" , sans-serif; font-size: large;">Named after the poet’s moth</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "arial" , sans-serif;"><span style="font-size: large;">er, <i>'mamseko</i></span></span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "arial" , sans-serif; font-size: large;"> is a collection of introspective lyrics and other poems
dealing with the intersections of blood relationships and related identities.
Thabile Makue questions what it means to be beings of blood—to relate by blood,
to live by blood. In her poems Makue looks for traces of shared trauma and pain
and asserts that wounds of the blood are healed by the same.</span></div>
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<span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"> </span></span></span><o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.nebraskapress.unl.edu/university-of-nebraska-press/9781496219602/"><img border="0" data-original-height="447" data-original-width="298" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj51GKuzhed7ubLAvvsImoYEmkjvhzUCgZWTu-VbC2QVwZKFeRAi_hdAZ3n1cJZgi5yHzYGR5FUhaJGs8bEOhRfghyphenhyphen_E96AgVfIVvw6BU3cbBcll27UQEvDPhMhuTyoc9dxyMoT51oJl4nr/s640/2020.24.jpg" width="426" /></a></div>
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<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Sacrament of Bodies </i>by Romeo Oriogun</b><o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background: white;">In </span><i>Sacrament
of Bodies</i><span style="background: white;"> Romeo Oriogun interrogates what it means
to be queer, male, and Nigerian. In this groundbreaking work, Oriogun seeks to
understand how a queer man can heal in a society where everything is designed
to prevent such restoration. He explores the paradox of death ending pain while
leaving the living with unanswered questions and reflects on the role class
plays in survival and the father-son relationship. Ultimately, Oriogun’s poems
deal with grief and how the body finds survival through migration.</span><br style="-webkit-text-stroke-width: 0px; box-sizing: border-box !important; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"> </span><br style="-webkit-text-stroke-width: 0px; box-sizing: border-box !important; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<i>Sacrament of Bodies</i><span style="background: white;"> examines
queerness in Nigerian society, masculinity, and the place of memory in grief
and survival.</span></span><o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.nebraskapress.unl.edu/university-of-nebraska-press/9781496219640/"><img border="0" data-original-height="447" data-original-width="298" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvDt7QJCoHLW2um9srL_cjmtjce4T9axyjImCngzOMp_WqdhhmvjIhWxt08EYoi36isF-CPTUxDPz0eoNFUHM85AMnpSLocjYSKGgPwWoBADbzitoRlKZFJPczeV-_kQF6LlAr7wlB7a_3/s640/2020.23.jpg" width="426" /></a></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">April 2020</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Prey </i>by Ayaan Hirsi Ali </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">
<span style="background: white;">In <i>Prey</i>, Hirsi Ali explains the systemic causes
of sexual violence in the Muslim world, from the barring of women from public
life to the lack of legal and cultural bulwarks against sexual abuse. She also
brings up uncomfortable questions for the West. Why, she asks, have the
European authorities and media sought to hush up the wave of violence against
women? Why do Western feminists prefer to complain about glass ceilings in the
workplace when women are facing severe threats to their most basic rights?</span><br />
<br />
<span style="background: white;">For two decades, Hirsi Ali has faced death
threats and harassment for daring to speak her mind. But she refuses to be
silenced. In Prey, she argues passionately against allowing the clock of
women's right to be turned back.</span><o:p></o:p></span></div>
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.harpercollins.com/9780062857873/prey/"><span style="font-size: large;"><img border="0" data-original-height="500" data-original-width="331" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlEvcpdShyzc5A-xIdBJPjKJhVcvj4pUMt5idE3_XIzStVBuBKfOHElQ5wtMj9L0bdJtJl-uXIzY7IOR1rjFJY3718e1Hb-XOXevsefKEVDFYsShqB5X6hFJ8k4RFsuFqLnOOKRxTynYg/s640/2020.6.jpg" width="420" /></span></a></div>
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<br /></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>An Ordinary Wonder</i> by Buki Papillion</b><o:p></o:p></span></div>
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<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">From the Bookseller: </span></span></div>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
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<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The book follows Oto, one of Yoruba twins, who is
raised as a boy but who has a secret – he is intersex, and desires to live
life as a girl. </span></span></div>
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<a href="https://www.thebookseller.com/news/dialogue-flies-papillons-extraordinary-debut-960081"><span style="font-size: large;"><img border="0" data-original-height="579" data-original-width="329" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpUprEroUeQMaiVCby1FnDBQmYPGehEqk-FfnBp0fCl4C-wjaxx9gAdJ3-bwviW9f-pxl9rk41fVm2FlTNdfiXkaafgUnbZMSCGPxzGKsX6KOzr0VC9fV4ZMs-FsGFxdQauNef35lzQE_w/s640/awaiting-photo.jpg" width="360" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>A Bookshop in Algiers</i> by Kaouther Adimi (translated
by Chris Andrews) </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">A moving novel inspired by the true story of
the man who discovered Albert Camus and Gertrude Stein A Bookshop in Algiers
celebrates quixotic devotion and the love of books in the person of Edmond
Charlot, who at the age of twenty founded Les Vraies Richesses (Our True
Wealth), the famous Algerian bookstore. His entire archive was twice destroyed
by the French colonial forces, but despite financial difficulties and the
vicissitudes of wars and revolutions, Charlot carried forward Les Vraies
Richesses as a cultural hub of Algiers. The novel interweaves Charlot’s story
with that of another twenty-year-old, Ryad, dispatched in 2017 to empty the old
shop and repaint it. Ryad’s no booklover, but old Abdallah, the bookshop’s
self-appointed guardian, opens the young man’s mind. Cutting brilliantly from
the 1930s to current times, Adimi delicately packs a monumental history of
intense political drama into her swift and poignant novel. But most of all,
it’s a hymn to literature.</span></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://serpentstail.com/media/wysiwyg/STcatalogue_Spring_20_-_FINAL_-_WITH_COVER_-_SINGLES.pdf"><img border="0" data-original-height="1336" data-original-width="843" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2sfGuQu5CPtMzo6El7NOIQn2zTDD2rkumoMeZSZDuQDFvZ1V7m0tXP_0k7RRtYURVhyphenhyphenrFU5xeUGUPz23hUNE6f2lOg6nBWUPJ9K1X2j-zr8gb-_V74eeGskXhbZVdYYBtxBk0j_Zyjztq/s640/Screenshot_20190930-163147.png" width="402" /></a></div>
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<br /></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">May 2020</span></b></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Conditional
Citizen: On Belonging in America by </b><i><b>Laila Lalami</b></i><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><span style="background: white;">What does it mean to be American? In this starkly
illuminating and impassioned book, Pulitzer Prize Finalist Laila Lalami
recounts her unlikely journey from Moroccan immigrant to U.S. citizen, using it
as a starting point for her exploration of the rights, liberties, and
protections that are traditionally associated with American citizenship.
Tapping into history, politics, and literature, she elucidates how accidents
of birth--such as national origin, race, or gender--that once determined
the boundaries of Americanness still cast their shadows today. Throughout the
book, she poignantly illustrates how white supremacy survives through
adaptation and legislation, with the result that a caste system is maintained,
keeping the modern equivalent of white male landowners at the top of the social
hierarchy. Conditional citizens, she argues, are all the people whom America
embraces with one arm, and pushes away with the other.</span><br />
<br />
<span style="background: white;">Brilliantly argued and deeply personal, <i>Conditional
Citizens</i> weaves together the author's own experiences with
explorations of the place of nonwhites in the broader American culture.</span></span><span style="font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.penguinrandomhouse.ca/books/563306/conditional-citizens-by-laila-lalami/9781524747169"><img border="0" data-original-height="450" data-original-width="298" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuqSlcERHFfxUuxxEOEPh2bMKPYhSvP7V4MG3p3yoyswvYlVP3ijwHAmMm3vKSRXRnoqMhdzJhVMeucIK26EjDLkEhssBD0nMzFNlc-mkjHioaGkoV6kCeTI0qOp-gpiMn5FGkvH6omMSG/s640/2020_30.jpeg" width="422" /></a></div>
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<br /></div>
<!--EndFragment--><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The Returnees</i> by Elizabeth Okoh</b> </span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; letter-spacing: 0.35pt;"><span style="font-size: large;">After a bad break up, 25-year-old Osayuki Idahosa leaves behind everything she holds dear in London to return to Lagos, Nigeria: a country she hasn't set foot in for many years. Drawn by the transformations happening in the fashion industry in the city, she accepts a job at House of Martha as their Head of PR. While waiting at Milan airport for her connecting flight to Lagos, she meets Cynthia Okoye and Kian Bajo, a wanna-be Afrobeat star. After the plane lands at the Lagos airport, they all go their separate ways but their lives will intertwine again and change the course of Osayuki's life forever.</span></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.waterstones.com/book/the-returnees/elizabeth-okoh//9781529380545"><span style="font-size: large;"><img border="0" data-original-height="499" data-original-width="325" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWtQZwh8upijxHY2KljdKn2f3FK94OYh1bv4B_RtOLCh_NVKL1QOw24aeov5vW2yDefV4FVqVRlVQX-1zFiGrjPKnB0HzG33gKkadK2XkeDXNQCvlXU1HUmf3fSm9R0nARFFySs8u-mOtC/s640/2020.20.jpg" width="409" /></span></a></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; letter-spacing: 0.35pt;"><b><span style="font-size: large;"><br /></span></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Curandera</i> by Irenosen Okojie (*although I also noticed March 2021 on a couple of sites)</b></span></div>
<div style="background: white; margin-bottom: 9pt; margin-top: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><span style="letter-spacing: 0.35pt;">A cross between <i style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0); box-sizing: border-box; letter-spacing: inherit;">Perfume</i> and <i style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0); box-sizing: border-box; letter-spacing: inherit;">The Secret History</i>, <i style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0); box-sizing: border-box; letter-spacing: inherit;">Curandera</i> explores the darker elements of shamanism, desire and friendship.</span></b><span style="letter-spacing: 0.35pt;">In the mountainous town of Gethsemane, a mysterious woman's arrival sparks a series of strange events that will leave the town's inhabitants changed - men sporadically blind in the afternoons, children disappearing and reappearing without warning and infertile women pregnant with the memories of past births.<o:p></o:p></span></span></div>
<div style="background: white; margin-bottom: 9pt; margin-top: 0cm;">
<span style="letter-spacing: 0.35pt;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">In London, Therese, a botanist, is quietly on the hunt for a rare form of peyote. Therese lives with three friends in a Victorian house, Azacca, a Haitian musician who leaves offerings, Peruvian drifter Emilien who is haunted by the past and adventurous Finn, who is increasingly drawn to living life on the edge. When Therese discovers she can heal the sick, jealousy and resentment fracture their bond.</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.waterstones.com/book/curandera/irenosen-okojie/9780349700946"><span style="font-size: large;"><img border="0" data-original-height="579" data-original-width="329" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxCdXffvjuP4jXFvWsPIK3iZG0Ix3n9JMlu-0F4necbiNAuqTg_57Y3woIvft4pfnV7zSC53hQf0irY3vQXYtmythVZ4gBLqHTa-BBRAoJPypRs5cuTj54D1kfmvQ_gg_rHzYClmhuo4uo/s640/awaiting-photo.jpg" width="362" /></span></a></div>
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<span style="font-size: large;"><br /></span></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">June 2020</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The Dragons The Giant The Women</i> by Wayetu Moore</b> </span></div>
<div style="background: white; margin-bottom: 10.5pt; margin-top: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>An engrossing memoir of escaping the First Liberian Civil War and building a life in the United States</i></span></div>
<div style="background: white; margin-bottom: 10.5pt; margin-top: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">When Wayétu Moore turns five years old, her father and grandmother throw her a big birthday party at their home in Monrovia, Liberia, but all she can think about is how much she misses her mother, who is working and studying in faraway New York. Before she gets the reunion her father promised her, war breaks out in Liberia. The family is forced to flee their home on foot, walking and hiding for three weeks until they arrive in the village of Lai. Finally, a rebel soldier smuggles them across the border to Sierra Leone, reuniting the family and setting them off on yet another journey, this time to the United States.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 0.0001pt; margin-top: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Spanning this harrowing journey in Moore’s early childhood, her years adjusting to life in Texas as a black woman and an immigrant, and her eventual return to Liberia, <i>The Dragons, the Giant, the Women</i> is a deeply moving story of the search for home in the midst of upheaval. Moore has a novelist’s eye for suspense and emotional depth, and this unforgettable memoir is full of imaginative, lyrical flights and lush prose. In capturing both the hazy magic and the stark realities of what is becoming an increasingly pervasive experience, Moore shines a light on the great political and personal forces that continue to affect many migrants around the world, and calls us all to acknowledge the tenacious power of love and family.<o:p></o:p></span></div>
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<a href="https://blackwells.co.uk/bookshop/product/The-Dragons-the-Giant-the-Women-A-Memoir-by-Moore-Wayetu/9781644450314"><span style="font-size: large;"><img border="0" data-original-height="499" data-original-width="333" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Nm8Bum7YPaCnY_ySdYA9WOa7SVrdBwoBUGkTcnNB4lDDgIueL8Z2J0OzSw_yHKOW-FwJ2o6IEJuUnImiOhRa-sa00LBUMZwMAf_0LYr-K2nokkbic4gVPEhhx9LE7XGZSwCulL_16g84/s640/2020.11.jpg" width="424" /></span></a></div>
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>How Beautiful We Were</i> by Imbolo Mbue </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i><span style="background: white;">We should have known the end was near.</span></i></b><br /><br /><span style="background: white;">So begins Imbolo Mbue's devastating second novel, <i>How Beautiful We Were</i>. Set in the fictional African village of Kosawa, it tells of a people living in fear amid environmental degradation wrought by an American oil company. Pipeline spills have rendered farmlands infertile. Children are dying from drinking toxic water. Promises of cleanup and financial reparations to the villagers are made--and ignored. The country's government, led by a brazen dictator, exists to serve its own interest. Left with few choices, the people of Kosawa decide to fight back. Their struggle will last for decades and come at a steep price.</span><br /><br /><span style="background: white;">Told from the perspective of a generation of children and the family of a girl named Thula who grows up to become a revolutionary, <i>How Beautiful We Were</i> is a masterful exploration of what happens when the reckless drive for profit, coupled with the ghost of colonialism, comes up against one community's determination to hold on to its ancestral land and a young woman's willingness to sacrifice everything for the sake of her people's freedom.</span><o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.penguinrandomhouse.com/books/610569/how-beautiful-we-were-by-imbolo-mbue/"><span style="font-size: large;"><img border="0" data-original-height="450" data-original-width="296" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBTAIzx2z5san55otKeczwJfm-MwSgG8SAwVO766LrvpXNFo8l8wbib7Y6dy9SGZCQmDNOqEXXHltvC6z4NNLMfjk0hG_aDn8JeibmJLX4_kwGNy8KadSFeUHfUSWCI1sFN5VT6_5zpSNE/s640/2020.12.jpeg" width="411" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The First Woman</i> by Jennifer Nansubuga Makumbi</b> <o:p></o:p></span></div>
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<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">From James Murua’s Blog:<o:p></o:p></span></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: white;">It is described by the publisher Oneworld as,
“a powerful feminist rendition of Ugandan origin tales, </span><em style="-webkit-text-stroke-width: 0px; box-sizing: border-box; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"><span style="border: 1pt none windowtext; padding: 0cm;">The First Woman</span></em><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"> tells the
story of Kirabo, the equivalent of Eve in Ugandan mythology. Smart, headstrong
and flawed, Kirabo is raised by doting grandparents in idyllic Nattetta in
rural Uganda. But as she enters her teens, she starts to feel overshadowed by
the absence of the mother she has never known. At once epic and deeply
personal, it tells the story of one young girl’s search for her mother, her
discovery of what it means to be a woman throughout history and the
implications for her future.”</span></span><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span></span></div>
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<a href="https://www.jamesmurua.com/jennifer-nansubuga-makumbis-novel-the-first-woman-cover-revealed/"><span style="font-size: large;"><img border="0" data-original-height="1134" data-original-width="750" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpxww-wAMalIJ6ssh2sJwoxEw2U6e5fnSfWWufQgcpcNJOXcVOXCdY2yyx5d4u3CXo-RsjxQQLd86yKIsNsXFF3ng-jgDANvbyRWGopkZZcUeCT_C_ekIpvFiKjNgeMjf3Q4mZPf9aaRMw/s640/2020.13.jpeg" width="420" /></span></a></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>A Song of Wraiths and Ruins by Roseanne A. Brown</b> </span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></div>
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<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">For seventeen-year-old refugee Malik Hilali,
the weeklong festival of Solstasia is a chance to escape his poverty-stricken
life for a new one in the prosperous desert city of Ziran. But just as he
reaches the city’s gates, a vengeful spirit kidnaps his younger sister and
offers him a deal: her freedom in exchange for the death of Crown Princess
Karina Almorahad before Solstasia ends. With nothing but his own wits and dark
magic he barely understands, Malik disguises himself as a nobleman and enters
Solstasia to compete for Karina’s hand in marriage—the perfect opportunity to
assassinate her. <span style="white-space: pre-wrap;">But the night before Solstasia begins, an assassin murders Karina’s mother, and she inherits a court that threatens mutiny.</span><o:p></o:p></span></span></div>
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<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Grief-stricken and distrustful of everyone around her, Karina resorts to using forbidden magic to bring her mother back from the dead. But resurrection comes at a steep cost, and this ritual requires sacrificing her future husband—the winner of Solstasia.<o:p></o:p></span></span></div>
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<span style="background: white;"><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Over a week of heart-pounding celebrations and dazzling displays of magic, an unlikely bond forms between Karina and Malik, and their interactions force them to question everything they thought they knew about their world. But though they’re more alike than their enemies would have them believe, both are willing to do whatever it takes to save the ones they love—even if they have to destroy each other.</span><span style="color: #333333; font-family: "arial" , sans-serif;"><o:p></o:p></span></span></span></div>
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<a href="https://roseanneabrown.com/books"><span style="font-size: large;"><img border="0" data-original-height="1040" data-original-width="612" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_NwWTN0TwAPeCeTkMbUreTwSbefb7MNrCV85Nyv9e1U0iowJ0gb43wDmF44HHCN1FGh6jhQ5mloyfQAC0d1iG-dngEEJ-4NvyZM2Dl6-jd6dRbeb6AgkMjEyG1HfAo5EvaqahfrdCHO0Z/s640/2020.18.jpg" width="371" /></span></a></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">July 2020</span></b></div>
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<span style="font-size: large;"><b style="font-family: Arial, Helvetica, sans-serif;"><i>T</i><span style="background: white;"><i>he Gilded Ones</i> by Namina Forna</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background: white;">Sixteen-year-old Deka lives
in fear and anticipation of the blood ceremony that will determine whether she
will become a member of her village. Already different from everyone else
because of her unnatural intuition, Deka prays for red blood so she can finally
feel like she belongs.</span><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">But on the day of the ceremony, her blood runs gold, the
color of impurity&</span><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">ndash;and Deka knows she will face a consequence worse than
death.</span></span><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Then a mysterious woman comes to her with a choice: stay in
the village and submit to her fate, or leave to fight for the emperor in an
army of girls just like her. They are called alaki–near-immortals with rare
gifts. And they are the only ones who can stop the empire's greatest threat.</span></span><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Knowing the dangers that lie ahead yet yearning for
acceptance, Deka decides to leave the only life she's ever known. But as she
journeys to the capital to train for the biggest battle of her life, she will
discover that the great walled city holds many surprises. Nothing and no one
are quite what they seem to be–not even Deka herself.</span><o:p></o:p></span></span></div>
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<a href="https://www.penguinrandomhouse.ca/books/600179/the-gilded-ones-by-namina-forna/9781984848697"><span style="font-size: large;"><img border="0" data-original-height="499" data-original-width="331" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDbaVie6vnUUqrO2jRVh9q-VY9zjRZB1h4hRnzGikiD2aP3pygXvE30ZqCD8LTy_ZinojcoZm1jaE_QkFdJ4A-axv8u9v_9FDHZKDZinOPFlT5AU3l88Qwd6heGslxu0JLWVzCa8G6_3r2/s640/2020.14.jpg" width="424" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Love in Colour:
Mythical Tales from Around the World</i>, Retold by Bolu Babalola </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Love stories inspired by tales of the past...</b><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Join debut author Bolu Babalola as she recreates the most
beautiful love stories from history and mythology and retells them with new
incredible detail and vivacity. From the homoromantic Greek myths, to magical
Nigerian folktales, to the ancient stories of South Asia, Babalola is inspired
by tales that truly show the variety and colours of love around the world.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">A high-born Nigerian goddess feels beaten down and
unappreciated by her gregarious lover and longs to be truly seen.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">A young businesswoman attempts to make a great leap in
her company, and an even greater one in her love life.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Whether captured in the passion of love at first sight,
or realising that self-love takes precedent over the latter, the character's in
these vibrant stories try to navigate this most complex human emotion and
understand why it holds them hostage.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Bolu takes a step in decolonising tropes of love and
creates new stories inspired by the wildly beautiful tales that already exist
in so many communities and cultures. Moving exhilaratingly across perspectives,
continents and genres, from the historic to vividly current, <i>Love in
Colour</i> is a celebration of romance in all its forms.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Get lost in these mystical worlds and see
that love, like humanity, comes in technicolour.</b><o:p></o:p></span></div>
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<a href="https://www.hachette.com.au/bolu-babalola/love-in-colour-mythical-tales-from-around-the-world-retold"><span style="font-size: large;"><img border="0" data-original-height="499" data-original-width="327" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ7cgBPT7YGBgH2C_108NY6kPmP2-YjwVt2UVr30AmLXnmyAe6Z2rI9L1s6DMp20Mf1oy4ugl0Dr6r-96VRhDCUyXvoB2UstBu1qqQMzedfhyydZLYVSediGKN3UaETZcu8HYwIG2Zvf_W/s640/2020.15.jpg" width="411" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Afterland </i>by Lauren Beukes</b> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Blade Runner </i></b><b>meets <i style="box-sizing: inherit;">The Handmaid’s Tale </i>in
this thrilling story of how far a mother will go to protect her son in a
hostile world transformed by the sudden absence of men. </b><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Cole and her twelve-year-old, Miles, are on the lam. Fleeing
across the American West, they’re desperate to find a safe haven. Until they
do, they must maintain their disguise–as mother and daughter. Because Miles, a
boy, is the most valuable commodity in the world. Within just a few, horrifying
years, ninety-nine percent of the global male population has died in a
pandemic. Now, women run everything, from neighborhood bars to police
departments to research programs searching for a way to keep the human race
going. Stealthily and swiftly carving a trail from luxury bunker to anarchist
commune to nomadic religious cult, Miles and Cole will need all their cunning,
planning, and luck to outmaneuver the very bad, very dangerous people who are
hot on their heels-among them, Cole’s own sister. A brilliant blend of
psychological suspense, American noir, and trenchant science-fiction, </span><i style="-webkit-text-stroke-width: 0px; box-sizing: inherit; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Afterland </i><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">is the high-concept feminist thriller that Lauren Beukes’s
fans have been waiting for.</span><o:p></o:p></span></div>
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<a href="https://www.mulhollandbooks.com/titles/lauren-beukes/afterland/9780316267847/"><span style="font-size: large;"><img border="0" data-original-height="600" data-original-width="387" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO0KHV11PT0_uVh4zxuS-5CWWsSKscsBAkZzGqQ09ZBnWCu_c-XYFYh_ay2LNaj_202ZW7-unj8ZqiP0Dl6M084EyT-OgRvBui87nM5gMp7emcdd8IJxs8ECHZAzHeDIOeb6bKju0ww0AN/s640/2020.16.jpg" width="408" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Transcendent Kingdom</i> by Yaa Gyasi </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><span style="background: white;">Yaa Gyasi's stunning
follow-up to her acclaimed national best seller <i>Homegoing</i> is a
powerful, raw, intimate, deeply layered novel about a Ghanaian family in Alabama</span></b><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Gifty is a fifth year candidate in neuroscience at Stanford
School of Medicine studying reward seeking behavior in mice and the neural
circuits of depression and addiction. Her brother, Nana, was a gifted high
school athlete who died of a heroin overdose after a knee injury left him
hooked on OxyContin. Her suicidal mother is living in her bed. Gifty is
determined to discover the scientific basis for the suffering she sees all
around her. But even as she turns to the hard sciences to unlock the mystery of
her family's loss, she finds herself hungering for her childhood faith, and
grappling with the evangelical church in which she was raised, whose promise of
salvation remains as tantalizing as it is elusive. </span><i style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Transcendent Kingdom </i><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">is a deeply moving
portrait of a family of Ghanain immigrants ravaged by depression and addiction
and grief--a novel about faith, science, religion, love. Exquisitely written,
emotionally searing, this is an exceptionally powerful follow-up to Gyasi's
phenomenal debut.</span></span><o:p></o:p></span></div>
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<a href="https://www.penguinrandomhouse.com/books/622478/transcendent-kingdom-by-yaa-gyasi/"><span style="font-size: large;"><img border="0" data-original-height="450" data-original-width="302" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnboQA-gVeiDRvK7hyuh7_5q7DktWGarWU84pGMW0yOsYbUNr52AM6JbAG7VX3APJKGSyEASsnS9tE1wCXfDgsL_w7T_7bnORl6Ou56mHiWZHk_nCm8eTtXAoOBpRvSw3Gr3_AMnqNPzZa/s640/2020.17.jpeg" width="425" /></span></a></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b><i>We Are All
Birds of Uganda </i>by Hafsa Zayyan</b> </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><span style="background: white;">Two lives, generations
apart, set to collide with life-changing consequences...</span></b><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Uganda, the late 1960s. Hasan, the son of an Indian
immigrant, runs a successful business in Kampala together with his extended
family. But Hasan is heartbroken as he struggles to cope with the untimely
death of his wife. With anti-immigrant sentiment on the rise, growing racial
divides threaten to uproot everything he and his family have worked so hard to
build.</span></span><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">London, present day. Sameer is a Cambridge graduate and
high-flying lawyer, on track for a life-changing promotion. But, despite his
success, Sameer feels lost. The life he’s longed for is only making him
miserable. After a tragedy calls him back to the family home in Leicester, Sameer
finds himself caught between a future he’s always believed he wanted, and a
past he struggles to fit back into.</span></span><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Moving between two continents over a troubled century, </span><i style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">We Are All Birds of Uganda</i><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"> is a
multi-layered, moving and immensely resonant novel of generational love, loss
and what it means to find home. It is the first work of fiction by Hafsa
Zayyan, co-winner of the inaugural #Merky Books New Writers’ Prize, and the
most exciting young novelists of today.</span></span><o:p></o:p></span></div>
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<a href="https://www.penguin.co.uk/books/111/1119256/we-are-all-birds-of-uganda/9781529118643.html"><span style="font-size: large;"><img border="0" data-original-height="708" data-original-width="441" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmNSTHC6OXSOxPu3V1bmcollzC9lld_EBundxIljj6xJ3K6A1MKiAS76SzK4x__EBqmoQYc6zr-ZJbiPer3SqNaESC1BQnjA4KP7nBu_0pYrTFBXnioxSocoG-Rx-bOmptg5KqxSNgu0wV/s640/2020.17.jpg" width="392" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>In the Palace of Flowers</i> by Victoria Princewill</b> </span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In The Palace of Flowers is an atmospheric historical novel about Jamīla, an Abyssinian slave, whose fear of being </span><span style="font-family: "arial" , "helvetica" , sans-serif;">forgotten, of being irrelevant, sets her and Abimelech, a fellow slave and a eunuch, on a path to find meaning, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">navigating the dangerous and deadly politics of the royal court. </span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Princewill vividly recreates the court of the Iranian </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Shah in the 1890s, a precarious time of growing public dissent, foreign interference from the Russians and British, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">and the problem of an ageing ruler with an unsuitable heir. Love, friendship and the bitter politics within the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">harem, the court and the Shah’s sons and advisors will set the fate of these two slaves.</span></span></div>
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<a href="https://cassavarepublic.biz/product/in-the-palace-of-flowers/?v=cd32106bcb6d"><span style="font-size: large;"><img border="0" data-original-height="340" data-original-width="233" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinwZIbGWwrZMLQfGbcQIylO_f8yZDmUYcEn7wNDUc6IHO4m6FL3BUgZWmq5ecYrkA9w7hZ2zkkfDL1RPswZWu5VWs7rqct9xTB2qavK149GuLxqvqCOFAesdwFzuY3ALASLLxe7CHpSirL/s640/Screenshot+2019-12-02+at+22.50.21.png" width="427" /></span></a></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">August 2020</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Addis Ababa Noir</i> edited Maaza Mengiste</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Addis Ababa
(simply “Addis” to locals), considered by some to be the original home of
humankind, is a sprawling melting pot of cultures where rich and poor live side
by side in relative harmony—until they don’t. Maaza Mengiste’s award-winning
fiction and nonfiction have consistently reflected the lives of Ethiopia’s
everyday people, against the backdrop of migration, war, and exile. Here, in
this masterfully edited collection showcasing the country’s finest literary
talent, Mengiste brings this same razor-sharp sensibility to her city of birth,
pulling back the curtain on despair and depravity, offering an intimate glimpse
into the raw, beating heart of Addis Ababa.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span class="s1"><b>Brand-new stories by: </b></span><span class="s1">Maaza Mengiste, Adam Reta, Mahtem Shiferraw, Linda Yohannes, Sulaiman
Addonia, Meron Hadero, Mikael Awake, Lelissa Girma, Rebecca Fisseha, Solomon
Hailemariam, Girma Fantaye, Teferi Nigussie Tafa, Hannah Giorgis, and Bewketu
Seyoum.</span><o:p></o:p></span></div>
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<a href="http://www.akashicbooks.com/catalog/addis-ababa-noir-ethiopia/"><span style="font-size: large;"><img border="0" data-original-height="500" data-original-width="318" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3opcc6wb9uJ0p75Bcs8D7j2kKRy7OqFiMw1W_L4eb7IM3LAo5W_UiWfsS3LyR6y_nNqJenrz73QMVw5LCDcv78mULmYSimkLahRdCRzWn41vm8TMaUEzMHTXbZqw1oPsY6YWdCJV9FRcM/s640/2020.10.jpg" width="403" /></span></a></div>
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<span style="font-size: large;"><o:p><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></o:p><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">October 2020</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Unbury Our Dead With Song </i>by Mũkoma wa Ngũgĩ</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Unbury our Dead With Song is a novel about
four talented Ethiopian musicians - The Diva,<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The Corporal, the Taliban Man and Miriam, who
are competing to see who can sing the best<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Tizita (popularly referred to as Ethiopian
blues). Taking place in an illegal boxing hall in<o:p></o:p></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Nairobi, Kenya, the competition is covered by
a US educated Kenyan journalist, John Thandi </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Manfredi, who writes for a popular tabloid,
The National Inquisitor. He follows the</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">musicians back to Ethiopia in order to learn
more about the Tizita and their lives. As he<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">learns more about the Tizita and the multiple
meanings of beauty, he uncovers that behind<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">each of the musicians, there are layered
lives and secrets. Ultimately, the novel is a love<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">letter to African music, beauty and
imagination.<o:p></o:p></span></div>
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<a href="https://cassavarepublic.biz/product/unbury-our-dead-with-song/?v=cd32106bcb6d"><span style="font-size: large;"><img border="0" data-original-height="501" data-original-width="354" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAW-SO9TAUm9wDXNSW4plCq_hphq6prPURKZyi8wvyEbeNp5iZEyRGrEk2m9YNSWVdJnyFRw_FCzGb9u-1ZD0HAN5tcuqDZgBy0_89Kt6u4cRdqx1psBTFEQhIlBIHMuPMBJjrGiGR-kdJ/s640/2020.21.jpg" width="449" /></span></a></div>
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></o:p></div>
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<o:p><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">November 2020</span></b></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background: white;"><b><i>The Death of Vivek Oji</i> by
Akwaeke Emezi</b></span> <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background: white;">This is the tale of Vivek Oji. It begins with
his end, his naked body shrouded on his mother's doorstep, and moves backwards
through time to unpick the story of his life and the mystery surrounding his
death.</span><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;" />
<span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">As compulsively readable as it is tender and potent, this is
a fresh, engaging novel about the innocence of youth and how it clashes with
culture and expectation. </span><i style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">The Death of Vivek Oji</i><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"> is the story of a Nigerian childhood quite different
from those we have been told before, as Emezi's writing speaks to the truth of
realities other than those that have already been seen.</span></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.goodreads.com/book/show/48052939-the-death-of-vivek-oji"><span style="font-size: large;"><img border="0" data-original-height="579" data-original-width="329" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxCdXffvjuP4jXFvWsPIK3iZG0Ix3n9JMlu-0F4necbiNAuqTg_57Y3woIvft4pfnV7zSC53hQf0irY3vQXYtmythVZ4gBLqHTa-BBRAoJPypRs5cuTj54D1kfmvQ_gg_rHzYClmhuo4uo/s640/awaiting-photo.jpg" width="362" /></span></a></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">TBC (But some time in 2020)</span></b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i><br class="Apple-interchange-newline" />Jacaranda's Twentyin20</i></b></span></div>
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<span style="background: white; font-family: "arial" , sans-serif;"><span style="font-size: large;">As part of Twentyin2020, launched by Jacaranda in early
2019, the UK publishing house is dedicating a year to publish new works from 20 Black British writers. Check out the full list <a href="https://www.londonlibrary.co.uk/about-us/latest-news/1943-twenty-in-2020-for-black-british-writing">here</a>, but this includes fiction from <a href="https://baldglasses.com/">Abidemi Sanusi </a>(<i>Looking for Bono</i>) and Stella Ahmadu (<i>Deadly Sacrifice</i>), nonfiction from <a href="https://www.njambimcgrathcomedy.co.uk/">Njambi McGrath</a> (<i>Through the Leopard's Gaze</i>) and poetry collections from <a href="https://toluagbelusi.com/">Tolu Agbelusi</a> (<i>Locating Strong Woman</i>) among others.</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.jacarandabooksartmusic.co.uk/blogs/news/twentyin2020-is-announced-and-its-quite-the-moment"><img border="0" data-original-height="610" data-original-width="865" height="449" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKXM5J9SuNcon3QS2_sTNfrKHjpXVwjVBce7ViFnRTEgmW_sxwz2BCS8Ki1kImwNyQ4a9QRKCAiKkSjHHcPfCmQ3N6Z0Rl0gIxepi2uiS93snWTtcktI18weZFKX4PA78776FzLE9oh9ZG/s640/Screenshot+2019-12-02+at+23.48.59.png" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The Madhouse </i>by TJ Benson</b></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
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<!--StartFragment-->
<!--EndFragment--></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A house brings two unique souls together by the
unlikeliest of chances. In their union, that of an almost priest and a prodigal
daughter, two brothers whose bond transcends the laws of nature are born. As
the history of Nigeria unfolds, it creates a turbulent backdrop to the equally
turbulent struggles of the complicated love story and the tribulations faced by
the brothers; Max who is steadfast and continual in his love for Andre whose
demons chase him beyond the shores of the continent. As decades pass, the
entangled web of selfishness, desperation and deep unflinching love merges in a
spellbinding tale that proves that perhaps family might be the greatest bond of
all or the weakest link to their humanity.</span></span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://masobebooks.com/books/the-madhouse/"><span style="font-size: large;"><img border="0" data-original-height="1066" data-original-width="715" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_XFoufZgU7n5y-Eh0iHOBZbGdGgcTb2vgS8j8U-QWay_KbilHsjAkwhqzdLqBdaiJoTwpmq0Er2EpbPLf8WF0eDLggaL41Y5FVAXqfMmi3cw4f__a91b-ltxTsEAYATXOrUf-UPpLKcnP/s640/2020.22.jpeg" width="425" /></span></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i><br /></i></b></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>A Broken People’s Playlist</i> by Chimeka Garricks</b></span></div>
<div style="background: white; margin-bottom: 18pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>A Broken People’s Playlist</i> is a collection of short stories with underlying themes so beautifully woven that each story flows into the other seamlessly. From its poignant beginning in “Lost Stars” a story about love and it’s fleeting, transient nature to the gritty, raw musical prose encapsulated in “In The City”, a tale of survival set in the alleyways of the waterside. A Broken People’s Playlist is a mosaic of stories about living, loving and hurting through very familiar sounds, in very familiar ways and finding healing in the most unlikely places.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The stories are also part-homage and part-love letter to Port Harcourt (the city which most of them are set in). The prose is distinctive as it is concise and unapologetically Nigeiran. And because the collection is infused with the magic of evocative storytelling, everyine is promised a story, a character, to move or haunt them.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://masobebooks.com/books/a-broken-peoples-playlist/"><span style="font-size: large;"><img border="0" data-original-height="1347" data-original-width="900" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwEliOlOWsH8lLgAceEcjXylncpljsnVQ8S90R2YfVFjzCbgQOKLcT_YkUNgo-S7e0qSHuak-NsaEwoDGVmCsSRZRFXA9-01WyPM3a83TNZVWRj6BgPPgecPGcm95blI7cG8jQPPcKVJ_5/s640/2020.19.jpg" width="424" /></span></a></div>
<div style="background: white; margin-bottom: 18pt; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal">
<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">For the Kids</span></b></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Too Small Tola</i> by Atinuke | January 2020</b></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background: white;">Tolu may be small, but she's
very determined. Three delightful stories about Too-Small Tolu, a young girl
who, though small, is very determined. Tolu lives in a flat in Lagos with her
sister, Bola, who is very clever; her brother, Femi, who is very fast; and
Grandmummy, who is very bossy. Tolu proves to be stronger than she seems when
she goes to market with Grandmummy and manages to carry home a basket full of
yams and vegetables, chilli peppers and fish. When the taps in the flat don't
work, it's Tolu who brings water from the well, and it's Tolu who saves the day
when Mr Abdul, the tailor, needs his goods to be delivered quickly. Too-Small
Tolu is a wonderful new character in the world of children's books by
multi-award-winning children's writer and storyteller Atinuke.</span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background: white;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.whsmith.co.uk/products/too-small-tola/onyinye-iwu/paperback/9781406388916.html"><span style="font-size: large;"><img border="0" data-original-height="319" data-original-width="221" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi82S1iaeePXVZDYQl4gfxPQ3dri3T6t7dq2UsWilFGIfUGm9b4dpnEpYM9G1M5ujoni0wQ8Ou3_pUB8d45dcRkEDzFVk_dWaqkL5TJL4NnVb08e8pZIyZOpxV6gQ8DJaYcW1yAt339BtVq/s640/2020.9.jpg" width="440" /></span></a></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background: white;"><br /></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The Infinite</i> by Patience Agbabi | April 2020</b></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background: white; letter-spacing: 0.35pt;">We
fight crime across time . . . Leaplings, children born on the 29th of February,
are very rare. Rarer still are Leaplings with The Gift - the ability to leap
through time. Elle Bibi-Imbele Ifie has The Gift, but she's never used it.
Until now. On her twelfth birthday, Elle and her best friend Big Ben travel to
the Time Squad Centre in 2048. Elle has received a mysterious warning from the
future. Other Leaplings are disappearing in time - and not everyone at the
centre can be trusted. Soon Elle's adventure becomes more than a race through
time. It's a race against time. She must fight to save the world as she knows
it - before it ceases to exist . . .</span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background: white; letter-spacing: 0.35pt;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.waterstones.com/book/the-infinite/patience-agbabi/9781786899651"><span style="font-size: large;"><img border="0" data-original-height="400" data-original-width="261" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTYIsQUvE-QkNC-RymLkfyrD6DRpPpHfiBd26_iWWN5vbeKOvVtcPZJmEP8S-LBU18GKGj1xdGOZxYwmQnfgo-JAO3oSr8dfHQrDZBSIo15AegaJPn5LTdOSM82LCSBUsfjqxVF7EigYD2/s640/2020.8.jpg" width="409" /></span></a></div>
<div class="MsoListParagraph">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Ikenga</i> by Nnedi Okorafor | August 2020</b></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0cm; vertical-align: top;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i><span style="border: 1pt none windowtext; padding: 0cm;">Nnedi Okorafor’s first novel for middle grade
readers introduces a boy who can access super powers with the help of the
magical Ikenga.</span></i></b><i><o:p></o:p></i></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; box-sizing: border-box; margin-bottom: 14.4pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; orphans: 2; outline: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; vertical-align: top; widows: 2; word-spacing: 0px;">
<i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Nnamdi’s father was a good chief of police,
perhaps the best Kalaria had ever had. He was determined to root out the
criminals that had invaded the town. But then he was murdered, and most people
believed the Chief of Chiefs, most powerful of the criminals, was responsible.
Nnamdi has vowed to avenge his father, but he wonders what a twelve-year-old
boy can do. Until a mysterious nighttime meeting, the gift of a magical object
that enables super powers, and a charge to use those powers for good changes
his life forever. How can he fulfill his mission? How will he learn to control
his newfound powers?<o:p></o:p></span></i></div>
<div style="-webkit-text-stroke-width: 0px; background: white; box-sizing: border-box; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; vertical-align: top; widows: 2; word-spacing: 0px;">
<i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Award-winning Nnedi Okorafor, acclaimed for
her Akata novels, introduces a new and engaging hero in her first novel for
middle grade readers set against a richly textured background of contemporary
Nigeria.<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.penguinrandomhouse.com/books/608649/ikenga-by-nnedi-okorafor/"><span style="font-size: large;"><img border="0" data-original-height="450" data-original-width="298" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy3ycfvRvfV76ReKaCNO0o7rjRKKl3JwdvBvL7lXq9LZH_ZRfIZ2thkoS1SvEvlLvVIkvgvRB1cjiRx05vHbQDjvnFJRVF-s_cKcIZ_fvSW0Bp74I5MknYeZ5AGLiT0LCw7KEAoPZuO6By/s640/2020.8.jpeg" width="420" /></span></a></div>
<div class="MsoNormal">
<o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: x-large;">Further Afield</span></b></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Tendai Huchu has a "<a href="https://www.thebookseller.com/news/tor-takes-two-huchu-super-dope-two-book-deal-1091121#">super dope two-book deal</a>." Huchu's novel about an Edinburgh ghost-talker,<i>The Library of the Dead</i>,<i> </i>is scheduled for a Spring 2021 release. <o:p></o:p></span></div>
<!--EndFragment--><br />
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-35696354907508496142019-07-04T13:25:00.001+01:002019-07-29T00:08:37.334+01:00Continuing to Judge Books by Their Covers<div dir="ltr" style="text-align: left;" trbidi="on">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKu90FMpE7scKZ5Z5KzXgLrwGpNVlfZfkyYBCDSU_UcW3VRygFXvNeb1UF6gSc07AFotdDAyUpvaMnNrTP8JuACHDx0_FbfxrIRtxy4APBhJ1FLzXtWW9C0ilKum1TXlxpHQQx2JzTqvKh/s1600/TCB.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="469" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKu90FMpE7scKZ5Z5KzXgLrwGpNVlfZfkyYBCDSU_UcW3VRygFXvNeb1UF6gSc07AFotdDAyUpvaMnNrTP8JuACHDx0_FbfxrIRtxy4APBhJ1FLzXtWW9C0ilKum1TXlxpHQQx2JzTqvKh/s1600/TCB.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="background-color: white; color: #777777; font-family: "Trebuchet MS", Trebuchet, Arial, Halvetica, Verdana, sans-serif; font-size: 9.6px;"><a href="http://www.palgrave.com/page/detail/creating-postcolonial-literature-/?isb=9780230369368" style="color: #555555; text-decoration-line: none;">Caroline Davis' 'Creating Postcolonial Literature'</a></b></td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">It
wasn’t too long ago, African book covers were called out for their “<b><a href="https://africasacountry.com/2014/05/the-dangers-of-a-single-book-cover-the-acacia-tree-meme-and-african-literature">acacia tree sunset treatment</a></b>”, leading to a debate on the look
of books by writers of African origin. It started with <b><a href="https://twitter.com/SimonMStevens/status/464049317926686720/photo/1">a series of images Simon Stevens shared on Twitter</a></b>, which led
to a post on Africa is a Country on the dangers of a single book cover. As useful as it was to
bring to light the number of orange sunsets and acacia trees, around that time
I went beyond that to share <b><a href="http://www.bookshybooks.com/2014/06/beyond-acacia-tree-book-covers.html">images that didn't stick to the cliched African book cover</a></b>.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">The
truth is African Book Covers come in all shapes and sizes – depending on the
region. While, I’ve spent the last 7 years documenting them: first on this
blog, and a few months later on my tumblr, ABC, I have to say my
love for the design of book covers started much earlier – from around the age
of ten when I first started copying the images I saw on the cover of the books
and comics I was reading. As I got older, I got even more obsessed with design,
and today <span style="background: white;">I can stare at book cover designs
for hours. I am a frequent visitor of certain book cover design websites, and I
constantly marvel at the wonder and art of putting them together. This is why
it's been a treat (especially in recent years) to look at the design of covers
of books by African writers or writers of African origin (and to a lesser
extent, books not written by Africans, but centred on the African continent.</span><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Last
year I took a look at the <b><a href="http://www.bookshybooks.com/2018/06/judging-book-by-its-cover-books-of.html">covers of the books being launched at Africa Writes</a></b> -
the <b><a href="http://africawrites.org/">Royal African Society's annual literature festival</a></b> - as I am always curious
about the look and design of books by writers of African origin. This year is
no different - I'm still super curious. So, ahead of Africa Writes 2019 which
takes place Friday 5 July to Sunday 7 July, I am giving some cover love, but
with a bit of a twist this year.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Book
covers are a thing of beauty. Okay. Not all of them! They can honestly go wrong
in many cases, and some times African book covers are lazy AF. Still, when a
book cover is done right, it has the ability to convey a lot about the identity
and content of the book. I am not a designer, but I love the various elements
that go into designing a cover - the text, the images/illustrations/graphics,
the layout, the colour, the spine, the font of the titles, the
texture. Take <b><a href="https://cassavarepublic.biz/?v=79cba1185463">Cassava Republic Press</a></b>, and it's distinct cover design. So
distinct that you know a CRP book without even without looking at the logo.
This to me speaks of the power of effective cover design - to be able to know
the brand (in this case the publisher) from looking at their cover
design. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1tQ_U2y3CfL2xT-_zcMB_A1H6z6hFKQee4X_rhkP8RKkcd_AS8zsXwyCUSjmqp76OREgyl4kxcDeTvnjlt2Csg8vgLoOfJQ8KpZqimH1-7OVmwaOQ-mmXst53s7aRro309KqiOy1i1ZrW/s1600/CRP1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="342" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1tQ_U2y3CfL2xT-_zcMB_A1H6z6hFKQee4X_rhkP8RKkcd_AS8zsXwyCUSjmqp76OREgyl4kxcDeTvnjlt2Csg8vgLoOfJQ8KpZqimH1-7OVmwaOQ-mmXst53s7aRro309KqiOy1i1ZrW/s320/CRP1.jpg" width="218" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsPnjc9ObVLL8I132HwWH3z2E74aUqMPojr3daPkaGP3HIaveot8recAtiW3APgXqg129NRarDZRuFVvSYOlMeP5CrsL_ev2RaqL_6kroqqtLxAini5FCiCz647eCyX8CKJTzdfYrvvHtw/s1600/CRP2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsPnjc9ObVLL8I132HwWH3z2E74aUqMPojr3daPkaGP3HIaveot8recAtiW3APgXqg129NRarDZRuFVvSYOlMeP5CrsL_ev2RaqL_6kroqqtLxAini5FCiCz647eCyX8CKJTzdfYrvvHtw/s320/CRP2.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQEAr_8bJgQwJ6PVYb1MO-9tAZsfQZxPtHY2_F-yM_2gSDRrJ7Ezm_Hmwun5YUWM0gLeVZ2e7cwCBjwnYQ_SEA2N7QIQq_I5iMyGruKKc388orH2Hn8WWy7jlaYJLl4tyBrJJGToigRoCV/s1600/EMT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="323" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQEAr_8bJgQwJ6PVYb1MO-9tAZsfQZxPtHY2_F-yM_2gSDRrJ7Ezm_Hmwun5YUWM0gLeVZ2e7cwCBjwnYQ_SEA2N7QIQq_I5iMyGruKKc388orH2Hn8WWy7jlaYJLl4tyBrJJGToigRoCV/s320/EMT.jpg" width="206" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">The distinctness of CRPs
covers in a way reminds me of </span><span style="font-size: small;"><b style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.bookshybooks.com/2012/03/judging-book-by-its-cover-african.html">Heinemann's African Writers Series covers</a></b><span style="font-family: "arial" , "helvetica" , sans-serif;">.
Yes, I know their designs have mixed reviews (I'm one of those ones that like
them), but the covers are classic, and you know an AWS (be they fiction,
nonfiction, poetry or drama) once you see it. A great article on </span></span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="https://www.laphamsquarterly.org/roundtable/judged-its-covers"><span style="font-size: small;">the design of the AWS by Josh MacPhee</span></a></b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"> notes
that </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">“<i>the African Writers Series’ aesthetic remains eye-catching, an
artifact of an important moment in literary history."</i> Of the book
covers, MacPhee writes of “<i>highly developed illustrations, interesting use
of montage and patterns, and expansion of what was possible with printing
budgets limited to two or three colours</i>”.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUaGanitffd6f01dbKV0GgPorPAQIKGH9tb8D__1KxoGhz5p3vuFvJC6Psz1X00htjlwWP2DORR7H8HYJ9YLv0_MDFkIESCO9qNahgHBkcCyurK4-ttqx_EldVtDp1_A-MV7b8GCFtnkhQ/s1600/Gods+bit+of+wood.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1504" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUaGanitffd6f01dbKV0GgPorPAQIKGH9tb8D__1KxoGhz5p3vuFvJC6Psz1X00htjlwWP2DORR7H8HYJ9YLv0_MDFkIESCO9qNahgHBkcCyurK4-ttqx_EldVtDp1_A-MV7b8GCFtnkhQ/s320/Gods+bit+of+wood.jpg" width="212" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFovFdoS_vNiKTpXS0Hp45KlqsQeoZZDLnzrNTsiE3sDG-bIKf4YswG6DXNfF9uYu1Z4IpTg84NGmyG6d_Vq4BbadbtZHvBhy2raEq27EEc8npwXDxmFpnv5XrInW9hWAkgcns8_rZUuOA/s1600/Interpreters.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1535" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFovFdoS_vNiKTpXS0Hp45KlqsQeoZZDLnzrNTsiE3sDG-bIKf4YswG6DXNfF9uYu1Z4IpTg84NGmyG6d_Vq4BbadbtZHvBhy2raEq27EEc8npwXDxmFpnv5XrInW9hWAkgcns8_rZUuOA/s320/Interpreters.jpg" width="207" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOIHv7QLVWDegZdR7Khh8sbI4a4un6KVUASfhEzxGkzWsGBbK7N0Rz0fU-Ttwguir93ZRtZm-uS8pWrVsYE_Q8hicvy8kG3FXKQE1J9CneJUm2N5HI95Xa3BmgB5WHLpNsG_f7jcq6f7Wd/s1600/This+earth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1495" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOIHv7QLVWDegZdR7Khh8sbI4a4un6KVUASfhEzxGkzWsGBbK7N0Rz0fU-Ttwguir93ZRtZm-uS8pWrVsYE_Q8hicvy8kG3FXKQE1J9CneJUm2N5HI95Xa3BmgB5WHLpNsG_f7jcq6f7Wd/s320/This+earth.jpg" width="214" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><b>AWS Covers. Source: <a href="https://www.laphamsquarterly.org/roundtable/judged-its-covers">Lapham's Quarterly</a></b></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">There are other notable African book series,
which may not have had the longevity of Heinemann's AWS, but they nonetheless
had distinct covers. Take, for instance, the covers of </span><a href="http://www.bookshybooks.com/2015/10/55-years-of-nigerian-literature-three.html" style="font-family: Arial, Helvetica, sans-serif;"><b>Oxford University Press' short-lived Three Crown Books</b></a><span style="font-family: "arial" , "helvetica" , sans-serif;">,
which published worked by writers including Wole Soyinka, J P Clark and Ola
Rotimi. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeBdUswP8c_IWZxgIaXrWaJFjDLW4ClM5iVq3qsWl0O_FfTJxqIl0uQBep6m4txjQ3_xxF2xfsypEtcfPuyl48zwzHPAS0m9-ecKaoCKigqChLGnthbJaBlE71sU9726aXotPOcyLCj66T/s1600/ThreeCrowns+-+3+plays.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="458" data-original-width="600" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeBdUswP8c_IWZxgIaXrWaJFjDLW4ClM5iVq3qsWl0O_FfTJxqIl0uQBep6m4txjQ3_xxF2xfsypEtcfPuyl48zwzHPAS0m9-ecKaoCKigqChLGnthbJaBlE71sU9726aXotPOcyLCj66T/s400/ThreeCrowns+-+3+plays.jpg" width="400" /></span></a></div>
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<div style="font-style: normal; margin: 0px;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Of
course there are more, including from Fontana Books (which focused more on
photos of people on the covers - some more questionable than others) and
Longmans. Check out Justseeds for more on the cover designs of </span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="https://justseeds.org/251-fontana-africa-complete/">Fontana</a> </b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">series. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">I could go on and on and
on about the range of covers out there, including ones from <b><a href="http://www.bookshybooks.com/2014/10/54-years-of-nigerian-literature-mbari.html">the Mbari Club</a></b> founded in Ibadan in the
1970s and South Africa's <a href="http://www.bookshybooks.com/2017/02/100africanwomenwriters-2-miriam-tlali.html?m=1"><b>Staffriders Series</b></a>, and if you're
curious check out some others that have been <b><a href="http://www.bookshybooks.com/search/label/African%20Book%20Covers?max-results=20">featured here on the blog</a></b>. </span><span style="font-family: "arial" , sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
<div style="font-size: medium; margin: 0px;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF_KBBoEp95TvPoTT8j3OJuhFgFb9SaivSujT8vfYvqCsJt0NyVSPy4YffPqfEZlcAmfwHV9VV_x9-hM7xhNlQmBwJKldPqDfyiL9vINBQ2W75b-9DK61CCsxSfBc3J1SaN4k91OuOAfG1/s1600/Mabari.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1186" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF_KBBoEp95TvPoTT8j3OJuhFgFb9SaivSujT8vfYvqCsJt0NyVSPy4YffPqfEZlcAmfwHV9VV_x9-hM7xhNlQmBwJKldPqDfyiL9vINBQ2W75b-9DK61CCsxSfBc3J1SaN4k91OuOAfG1/s400/Mabari.jpg" width="293" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-nci1JKvdmpHYJtNClBl6aDBKyn9WywCh3KJ_1UvA_-CVup1m7F2Ojdj3qDc-WXK4ur-L_jL5KZvrzpIOgL8Xa61dHSMcJ7LmOiVwcKTy1irzLFA6T9KiwqGgDyEW_VJ9ZLQvn9fGyGcp/s1600/Staffrider+series.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="965" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-nci1JKvdmpHYJtNClBl6aDBKyn9WywCh3KJ_1UvA_-CVup1m7F2Ojdj3qDc-WXK4ur-L_jL5KZvrzpIOgL8Xa61dHSMcJ7LmOiVwcKTy1irzLFA6T9KiwqGgDyEW_VJ9ZLQvn9fGyGcp/s400/Staffrider+series.jpg" width="240" /></a></span></div>
<div style="margin: 0px; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Mbari (Left) and Staffrider (Right) book covers via <b><a href="https://justseeds.org/239-ravan-books/">Justseeds</a></b></span></span></div>
<div style="font-size: medium; font-weight: 400; margin: 0px;">
<span style="font-style: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Whatever thoughts of African book
covers (both old and new) may be, it becomes clearer that there have been a
range of designs of covers over the decades, and this continues to be the case.
There really isn't one type of (African) book cover, and this is apparent even
with the books being launched at Africa Writes 2019. Being
a photographer (Pitts) and art critic (Iduma), covers like Johny Pitts </span><i style="font-family: Arial, Helvetica, sans-serif;">Afropean</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> and
Emmanuel Iduma's </span><i style="font-family: Arial, Helvetica, sans-serif;">A Stranger's Pose</i><span style="font-family: "arial" , "helvetica" , sans-serif;">, use strong and striking imagery
of people, but not in the same way as Fontana Book Covers (Amin to that). </span></span></div>
<div style="font-size: medium; margin: 0px;">
<span style="font-weight: 400;"><i><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></i></span></div>
<div style="font-size: medium; margin: 0px; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtrpdcB6Dti1sGEBHHsRxRyyaXCLHo0vmhRSPggAXmpgvKp4x6An8p4liq2OQznm_NcRuy1ZUVoK89IU6NWUmgcAYFQHwbgn9GnyhlJ4w_oaQxC4LMCgcnBrDIWT_vqM8PRNXLkaMFxWLy/s1600/image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="708" data-original-width="441" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtrpdcB6Dti1sGEBHHsRxRyyaXCLHo0vmhRSPggAXmpgvKp4x6An8p4liq2OQznm_NcRuy1ZUVoK89IU6NWUmgcAYFQHwbgn9GnyhlJ4w_oaQxC4LMCgcnBrDIWT_vqM8PRNXLkaMFxWLy/s400/image.jpg" width="246" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgahzf5VSPTDUEbtQOe2TdajRnATGezY-IrG9oqkGP3DPVGBhhmmAqM_XEb4uiEFyAUZipj5QMc18VsfQNfvQ-v0zevcfDA9Kngy3allQqoRQN-L6NA9LyIAyCEutuDUGPhq1dFEjtWolTs/s1600/A-Strangers-Pose.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="453" data-original-width="321" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgahzf5VSPTDUEbtQOe2TdajRnATGezY-IrG9oqkGP3DPVGBhhmmAqM_XEb4uiEFyAUZipj5QMc18VsfQNfvQ-v0zevcfDA9Kngy3allQqoRQN-L6NA9LyIAyCEutuDUGPhq1dFEjtWolTs/s400/A-Strangers-Pose.jpg" width="281" /></a></span></div>
<div style="font-size: medium; margin: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="margin: 0px;">
<span style="font-size: small;"><i style="font-family: Arial, Helvetica, sans-serif;">Manchester
Happened </i><span style="font-family: "arial" , "helvetica" , sans-serif;">by Jennifer Nansubuga
Makumbi designed by Hayley Warnham and </span><i style="font-family: Arial, Helvetica, sans-serif;">The Old Drift </i><span style="font-family: "arial" , "helvetica" , sans-serif;">by
Namwali Serpell designed by Kai & Sunny are more focused on bold graphics
to convey the content of the books. The maps of Kampala and Manchester on the
corner of the </span><i style="font-family: Arial, Helvetica, sans-serif;">Manchester Happened </i><span style="font-family: "arial" , "helvetica" , sans-serif;">cover indicates the setting
of the stories in these two cities. While the small dots on the cover of </span><i style="font-family: Arial, Helvetica, sans-serif;">The
Old Drift </i><span style="font-family: "arial" , "helvetica" , sans-serif;">are the mosquitoes. As </span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="https://vintagebooksdesign.tumblr.com/post/183627880176/the-old-drift">Kai & Sunny write on the design</a></b><span style="font-family: "arial" , "helvetica" , sans-serif;">: </span></span></div>
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<i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">We wanted the cover to
be bold, graphic and colourful. We’ve focused on reeds intertwining as the
foreground and giving the image its pattern and movement. The reeds are swaying
(drifting) along the river (swamps) with the small dots representing the mosquitoes
and the insect-like drones. We feel the cover has a calmness and uplifting
feeling to it but also has tension due to the colour making it feel intense and
hot.</span></i></blockquote>
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Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiNg7zDxB3EWZGz89BHnqvEILYXYGPs3KCHG4jzOpqLzKgaGM6ski9Pp3IZBjy4kvUswnxBDJ6kIbHXFs44Qd0y2VbxO3tH7oZJywQ3Ib-1gbP45YyxvLPPKbB8C77QV-S0Bl_oCIiYjaQ/s1600/9781786075895.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="882" data-original-width="575" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiNg7zDxB3EWZGz89BHnqvEILYXYGPs3KCHG4jzOpqLzKgaGM6ski9Pp3IZBjy4kvUswnxBDJ6kIbHXFs44Qd0y2VbxO3tH7oZJywQ3Ib-1gbP45YyxvLPPKbB8C77QV-S0Bl_oCIiYjaQ/s400/9781786075895.jpg" width="257" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6LikZeExKwb3VauyvWlUyoj_69cjSHw6G5u2I2i6e1vIN896YuA6SMIiCw55zT-APKpQwq3Y9muXSmtvx5OQALrXe48Rr9v3j-WU8fzK1XLiN3Uz-x353CopZIQlKnyQ8thjs7zeQ00Zw/s1600/The+Old+Drift_Namwali+Serpell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1043" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6LikZeExKwb3VauyvWlUyoj_69cjSHw6G5u2I2i6e1vIN896YuA6SMIiCw55zT-APKpQwq3Y9muXSmtvx5OQALrXe48Rr9v3j-WU8fzK1XLiN3Uz-x353CopZIQlKnyQ8thjs7zeQ00Zw/s400/The+Old+Drift_Namwali+Serpell.jpg" width="257" /></a></span></div>
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<span style="font-size: small;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "calibri" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The
cover of <i>German Calendar No December</i> by Sylvia Ofili with
illustrations by <b><a href="https://birgit-weyhe.de/weitere-seite">award-winning illustrator Birgit Weyhe</a></b></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> has
a charming mix of images conveying the German and Nigerian aspects of the
graphic novel. In it, Olivia Evezi's childhood in Warri, Nigeria was one of
listening to highlife records and enjoying colourful postcards from Germany
(where her mum is from) before eventually moving to Germany. </span></span><br />
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<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Finally, <i>Not
My Time to Die </i>by Yolande Mukagasana and <i>Everything You Have
Told Me is True </i>by Mary Harper give a strong feeling of what that the
books are about. It's been 25 years since Rwanda's 1994 genocide, and 12 years
since Mukagansa published what was said to be the first survivor
testimony. <i>Not My Time to Die </i>is the Engish translation of
Mukagansa's memoir. While, <i>Everything You Have Told Me </i>is
"<i>an intimate look at everyday life [in Somalia] under, within and
alongside a notorious terrorist group [Al Shabaab]</i>.</span></span><span style="background: white; font-family: "arial" , sans-serif; font-size: 13.5pt;">” </span><span style="font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
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<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">For me,
a great book cover design makes me think and also provides an insight into the
story that I am about to read. This isn's always the case though.
Moreover, as can be seen from this post - book cover design is continually
changing and is also influenced by design trends. There probably are still
acacia trees and sunsets out there, but I can also honestly say those are not
on my radar. </span></span></div>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-15070868863370494122019-06-17T22:17:00.001+01:002019-06-17T22:40:18.166+01:00111 Short Story Collections ... and Counting<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGTBx9FtSKUzG1g_agoF9Ol-AYb_XuqDnlbJlMc0RAs9SPga704q-VIaXnsYKW2VVgQFVoze46Dri5o4GzSiNP12jlTTkrHclE8gPo3TkClYdrPtoOBxpCTa52pSMNfya8oMAyHLuiix6P/s1600/SSC3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGTBx9FtSKUzG1g_agoF9Ol-AYb_XuqDnlbJlMc0RAs9SPga704q-VIaXnsYKW2VVgQFVoze46Dri5o4GzSiNP12jlTTkrHclE8gPo3TkClYdrPtoOBxpCTa52pSMNfya8oMAyHLuiix6P/s1600/SSC3.jpg" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12pt;">After the post I did on new and forthcoming short story collections, I started thinking more broadly about short story collections written by African writers/writers of African origin. </span></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12pt;">Not so fun fact, once an idea pops in my head, </span><span style="font-size: 12pt;">it gets stuck there, and it becomes extremely difficult for me to ignore it unless I address it. </span><span style="font-size: 12pt;">So, here are 111 short story collections (the number 111 also got stuck in my head for</span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;"> some strange reason). </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;">Not included on the list - anthologies (a separate post on that soon come). As always, this is not an exhaustive list and the focus is on collections in English (including ones translated from other languages into English). </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">T</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;">his list also includes 34 of the 35 short story collection from two previous posts: </span><b style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt;"><a href="http://www.bookshybooks.com/2019/06/ten-plus-new-short-story-collections.html">10+ new and forthcoming short story collections</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;"> and here </span><b style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt;"><a href="http://www.bookshybooks.com/2017/04/20-short-story-collections-by-african.html">20+ short story collection by women writers</a> - </b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;"><span style="text-align: center;">(not pictured </span><i style="text-align: center;">Nudibranch</i><span style="text-align: center;"> by Irenosen Okojie, as book cover forthcoming - if included it would be 112). Find out more about the book by clicking on the image. </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<a href="https://saqibooks.com/books/telegram/elsewhere-home/"><img border="0" data-original-height="1600" data-original-width="1042" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2gnE-_55964o3kFgdF2pEmvhyphenhyphend1TqGSn1eYQUMpzYT2ezGfN7o-PveKj4FMIJtc4d2vxwbcPfGT9-FuKTcDPanoT2JcgyD5NYYR9EA2-1XdjaVj4yGqbLHSR3v1fem2jFtvfOob8-ngfh/s320/EH.jpg" width="207" /></a> <a href="https://www.amazon.com/Year-Elephant-Independence-Literature-Translation/dp/029279603X" style="font-size: 12pt;"><img border="0" data-original-height="293" data-original-width="186" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbnQ8etGlVrMadNuTZMsjvreolh33sp9vr9clOlUT2_FF0SjTvzka5WHX1g24vCvk5qnQ5nSyDLQO_C3wKMAKDSgVwrBYFmyfsoeInHRpEa92i-Zomsg_aWTrr71m96JUIYjdx6VBoGDvN/s320/year+of+the+elephant.jpeg" width="202" /></a> <a href="https://www.amazon.co.uk/Girls-Stories-Penguin-Modern-Classics/dp/0143026232" style="font-size: 12pt;"><img border="0" data-original-height="450" data-original-width="292" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgORo4Wrr0VKi725i79Mfjm6kl2lAq7r5sqlOorbDRDbK8ez1Mb0rN0NHYbdR494cJydIN7Uv6VtAIHtJik7b7ix9rWxQ222WTf1MZ0wajxYhoLlpyr4ZUTbhs-djV1KSKAo5xHf3aec-gt/s320/101.1.jpeg" width="206" /></a></div>
<div style="text-align: center;">
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-40844995447879402592019-06-10T00:01:00.001+01:002019-06-10T08:03:57.761+01:00Ten-Plus Short Story Collections from Writers of African Origin<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Short story collections have over time become my go-to choice of books to read. I went from completely being opposed to them, to not fully understanding them, to marveling at the skill of short story writers to convey so much in so little space. A couple years ago, I shared a list of <b><a href="http://www.bookshybooks.com/2017/04/20-short-story-collections-by-african.html">twenty plus short story collections written by women of African origin</a></b>, with works from Leila Abouzeid's <i>Year of the Elephant </i>to Yvonne Vera's <i>Why Don't You Carve Other Animals</i></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">. Since then, a number of collections have been published, including<b><a href="https://www.theguardian.com/books/2018/nov/09/lost-naguib-mahfouz-stories-discovered-in-nobel-laureates-papers"> lost stories discovered in Naguib Mahfouz's papers</a></b>. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">If you're looking for some exciting collections to tuck into, here are ten-plus ones to get you started. </span><br>
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<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://loveiswiseillustration.myportfolio.com/how-should-a-person-read">How Should A Person Read by Loveis Wise. Source: loveiswiseillustration</a></b></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b><a href="https://saqibooks.com/books/telegram/elsewhere-home/"><i>Elsewhere, Home</i> by Leila Aboulela</a></b><br><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Leila Aboulela's </span><i>Elsewhere,
Home</i><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"> offers us a rich tableau of life as an immigrant abroad. </span><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">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.</span><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
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<span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Shuttling between the dusty, sun-baked streets of Khartoum
and the university halls and cramped apartments of Aberdeen and London, </span>Elsewhere,
Home<span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"> 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.</span><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b><a href="https://www.quercusbooks.co.uk/titles/nana-kwame-adjei-brenyah/friday-black/9781787476011/"><i>Friday Black</i> by Nana Kwame Adjei-Brenyah </a> </b><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fresh, exciting, vital and contemporary, </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>Friday
Black</i> tackles urgent instances of racism and cultural unrest, and explores
the many ways we fight for humanity in an unforgiving world. In the first,
unforgettable story of this collection, <i>The Finkelstein Five</i>, Adjei-Brenyah
gives us an unstinting reckoning of the brutal prejudice of the US justice
system. In <i>Zimmer Land</i> we see a far-too-easy-to-believe imagining of
racism as sport. And <i>Friday Black</i> and <i>How to Sell a Jacket as
Told by Ice King</i> show the horrors of consumerism and the toll it takes on
us all.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><a href="https://pagebookstore.com/products/we-wont-fade-into-darkness"><i>We Won't Fade Into Darkness</i> by TJ Benson</a><span style="font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">An abusive father is forced out of safety to find his runaway
son in a world where males are going extinct and female monarchs have resorted
to drastic methods to ensure continuity of the Nigerian race. An Ogbanje travels
to a near post-apocalyptic Nigeria from the past with a solution even she is
not aware of. In a Nigeria where the British never left, a white boy who lives
in Lagos seizes a banned book from one of his father’s Nigerian household serfs
and their friendship yields disastrous consequences in Passion Fruit. In <i>We
Won’t Fade into Darkness</i> the past and future comes to a head, indiscriminate
exploitation of oil eventually yields Nigerium, a gaseous element that poisons
air, destroys reproductive organs and drives people insane. The common thread in
these stories apart from the country of its setting is the lifeblood of every
indigene, hope.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b><a href="http://biblioasis.com/shop/forthcoming/rain-stories-ebook/"><i>Rain and Other Stories</i> by Mia Couto (Translated by Eric M. B. Becker)</a></b></span></div>
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<i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">After the
war, I thought all that was left was ashes, hollow ruins . . . Today, I know
that’s not true. Where man remains, a seed, too, survives, a dream to
inseminate time. </span></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Published
in the aftermath of Mozambique’s bloody civil war, Mia Couto’s third collection
seeks out the places violence could not reach, the places where, the author
writes, “every man is the same: pretending he’s here, dreaming of going away,
and plotting his return.” Shifting masterfully between forms—creation tale to
meditation, playful comedy to magical twist—these stories grapple with
questions of what’s been lost and what can be reclaimed, what future exists for
a country that broke the yoke of colonialism only to descend into internecine
war, what is Mozambican and what is Mozambique. Following fishermen and
fortune-tellers, widows and drunks, and one errant hippopotamus, this new
translation of stories by the Man Booker-listed author of <i>Confession of
the Lioness</i> rediscovers possibility and what it means to be reborn.</span><span style="color: #333333; font-family: "arial" , sans-serif; font-size: 11pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b><a href="https://cassavarepublic.biz/product/nights-of-the-creaking-bed-2/?v=79cba1185463"><i>Nights of the Creaking Bed</i> by Toni Kan</a></b><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">First published in Nigeria, <i>Nights of the Creaking Bed </i></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">is full
of colourful characters involved in affecting dramas: a girl who is rejected in
love because she has three brothers to look after; a middle-aged housewife who
finds love again but has an impossible decision to make; a young man who can’t
get the image of his naked, beautiful mother out of his mind; a child so poor
he has to hawk onions on Christmas day – and many others. Some, initially full
of hope, find their lives blighted by the cruelty of others, or by being in the
wrong place at the wrong time, or by just not knowing the “right” people.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Corruption, religious intolerance, gratuitous violence, the
irresponsible attitudes of some men to their offspring and the importance of
joy are some of the big themes that underlie this memorable collection.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><a href="https://uppercasebooks.co.za/products/talk-of-the-town-by-fred-khumalo"><i>Talk of the Town</i> by Fred Khumalo</a></span></h1>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>Talk of the Town</i> by award-winning writer Fred
Khumalo comprises short stories he wrote over many years. In
this vibrant collection Khumalo explores identity and
belonging through tales about African foreign nationals in South
Africa, xenophobia, South Africans abroad, exiled comrades
during apartheid, and past and current township life. At times
hilarious and at times gut-wrenching, this is a collection that will move you.</span><o:p></o:p></div>
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<h1 style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><a href="https://saqibooks.com/?post_type=product&p=10337"><i>The Quarter</i> </a><span style="box-sizing: border-box; text-rendering: optimizelegibility;"><span style="box-sizing: border-box; text-rendering: optimizelegibility;"><a href="https://saqibooks.com/?post_type=product&p=10337">by <span data-width="" style="box-sizing: border-box;"><span style="text-decoration: none;">Naguib Mahfouz</span></span></a><span style="font-weight: normal;"><o:p></o:p></span></span></span></span></h1>
<h1 style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-weight: normal;">Meet the people of Cairo's Gamaliya
quarter. There is Nabqa, son of Adam the waterseller who can only speak truths;
the beautiful and talented Tawhida who does not age with time; Ali Zaidan, the
gambler, late to love; and Boss Saqr who stashes his money above the bath. A
neighbourhood of demons, dancing and sweet halva, the quarter keeps quiet vigil
over the secrets of all who live there. </span><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">This collection by pre-eminent Egyptian writer Naguib Mahfouz
was recently discovered among his old papers. Found with a slip of paper titled 'for publishing 1994', they are published here for the first time. Resplendent
with Mahfouz's delicate and poignant observations of everyday happenings, these
lively stories take the reader deep into the beating heart of Cairo.</span><o:p></o:p></span></h1>
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br></span></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b><a href="https://commapress.co.uk/books/thirteen-months-of-sunrise/">Thirteen Months of Sunrise by Rania Mamoun (Translated from Arabic by Elisabeth Jaquette)</a></b><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">A young
woman sits by her father’s deathbed, lamenting her failure to keep a promise to
him…<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="-webkit-text-stroke-width: 0px; background: white; box-sizing: border-box; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">A
struggling writer walks every inch of the city in search of inspiration, only
to find it is much closer than she imagined…<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="-webkit-text-stroke-width: 0px; background: white; box-sizing: border-box; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">A
girl collapses from hunger at the side of the road and is rescued by the most
unlikely of saviours...<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="-webkit-text-stroke-width: 0px; background: white; box-sizing: border-box; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br></span></div>
<div class="MsoNoSpacing" style="-webkit-text-stroke-width: 0px; background: white; box-sizing: border-box; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">In
this powerful, debut collection of stories, Rania Mamoun expertly blends the
real and imagined to create a rich, complex and moving portrait of contemporary
Sudan. From painful encounters with loved ones to unexpected new friendships,
Mamoun illuminates the breadth of human experience and explores, with
humour and compassion, the alienation, isolation and estrangement that is
urban life.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b><a href="https://vsbooks.ca/shut-up-youre-pretty/">Shut Up, You’re Pretty by Téa Mutonji</a></b><o:p></o:p></span></div>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">In Téa Mutonji’s disarming debut story collection, a
woman contemplates her Congolese traditions during a family wedding, a teenage
girl looks for happiness inside a pack of cigarettes, a mother reconnects with
her daughter through their shared interest in fish, and a young woman decides
on shaving her head in the waiting room of an abortion clinic.<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">These punchy, sharply observed stories blur the lines between
longing and choosing, exploring the narrator’s experience as an involuntary
one. Tinged with pathos and humour, they interrogate the moments in which
femininity, womanness, and identity are not only questioned but also imposed.</span><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
Shut Up You’re Pretty<span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"> is the first book to be published under VS. Books, a
series of books curated and edited by writer-musician Vivek Shraya featuring
work by new and emerging Indigenous or Black writers, or writers of colour.</span></span><o:p></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"><br></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2VCRmbEyy15GUdDlt9Cobqiiay_1atL7szPTt4SOhIIKOneN4nIpqK1ii9J95-ri2Qq6SaxuEmb4J-p3iNV71XfR__SneIE_iME5lw9IX1IfUvQo1yDOfSeNYu9HPwerQpm28PJ4XKudT/s1600/shut-up-youre-pretty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1092" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2VCRmbEyy15GUdDlt9Cobqiiay_1atL7szPTt4SOhIIKOneN4nIpqK1ii9J95-ri2Qq6SaxuEmb4J-p3iNV71XfR__SneIE_iME5lw9IX1IfUvQo1yDOfSeNYu9HPwerQpm28PJ4XKudT/s640/shut-up-youre-pretty.jpg" width="432"></a></div>
<div class="MsoNormal">
<br></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b><a href="https://www.littlebrown.co.uk/titles/irenosen-okojie/nudibranch/9780349700908/"><i>Nudibranch</i> by Irenosen Okojie</a></b><o:p></o:p></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Irenosen
Okojie's second collection of short stories</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"> focuses on offbeat characters caught up in extraordinary situations
- a mysterious woman of the sea in search of love arrives on an island
inhabited by eunuchs; dimensional-hopping monks navigating a season of silence
face a bloody reckoning in the ruins of an abbey; an aspiring journalist
returning from a failed excursion in Sydney becomes what she eats and a darker,
Orwellian future is imagined where oddly detached children arrive in cycles and
prove to be dangerous in unfamiliar surroundings.</span></div>
<div class="MsoNormal">
<br></div>
<h1 style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><a href="https://oneworld-publications.com/manchester-happened-hb.html"><i>Manchester Happened</i></a><span style="box-sizing: border-box; text-rendering: optimizelegibility;"><a href="https://oneworld-publications.com/manchester-happened-hb.html"> </a><span style="box-sizing: border-box; text-rendering: optimizelegibility;"><a href="https://oneworld-publications.com/manchester-happened-hb.html">by <span data-width="" style="box-sizing: border-box;"><span data-a-popover="{"closeButtonLabel":"Close Author Dialogue Popver","name":"contributor-info-B072KF15SW","position":"triggerBottom","popoverLabel":"Author Dialogue Popover","allowLinkDefault":"true"}" data-action="a-popover" style="box-sizing: border-box;"><span style="text-decoration: none;">Jennifer Nansubuga Makumbi</span></span></span> </a><span style="font-weight: normal;"><o:p></o:p></span></span></span></span></h1>
<div style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">If
there's one thing the characters in Jennifer Makumbi's stories know, it's how
to field an uncomfortable question.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">'Let
me buy you a cup of tea...what are you doing in England?'<o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">'Do
these children of yours speak any Luganda?'<o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">'Did
you know that man Idi Amin?'<o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">But
perhaps the most difficult question of all is the one they ask themselves: 'You
mean this is England?'<o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br></span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Told
with empathy, humour and compassion, these vibrant, kaleidoscopic stories
re-imagine the journey of Ugandans who choose to make England their home.
Weaving between Manchester and Kampala, this dazzling collection will captivate
anyone who has ever wondered what it means to truly belong. <o:p></o:p></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<br></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1TLtD-9IAN3bBQj4uK090IRyShoQulCC5b-Ogzn6Fri6OW4pTbLEBpgStXISDbk75FgYgRL1ZdSOaakedBszRv_LtQVmReIFirqpVuLPA1EZIIM45mXMS6C5Ejf6aCfIRxMsurx0ksXeq/s1600/MH.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="886" data-original-width="575" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1TLtD-9IAN3bBQj4uK090IRyShoQulCC5b-Ogzn6Fri6OW4pTbLEBpgStXISDbk75FgYgRL1ZdSOaakedBszRv_LtQVmReIFirqpVuLPA1EZIIM45mXMS6C5Ejf6aCfIRxMsurx0ksXeq/s640/MH.jpg" width="410"></a></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br></span></o:p></div>
<h1 style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><a href="https://www.amazon.co.uk/Intruders-Short-Stories-Mohale-Mashigo-ebook/dp/B07GNRXH5S"><i>Intruders </i>by <span data-width="" style="box-sizing: border-box;"><span style="text-decoration: none;">Mohale Mashigo</span></span></a><span style="font-weight: normal;"><o:p></o:p></span></span></h1>
<div style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Orphan
sisters chase monsters of urban legend in Bloemfontein. At a busy taxi rank, a
woman kills a man with her shoe. A genomicist is accused of playing God when
she creates a fatherless child.<i> Intruders </i>is a collection that
explores how it feels not to belong. These are stories of unremarkable people
thrust into extraordinary situations by events beyond their control. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">With
a unique and memorable touch, Mohale Mashigo explores the everyday ills we live
with and wrestle constantly, all the while allowing hidden energies to emerge
and play out their unforeseen consequences.</span></div>
<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2P3zx-rR7UlqKKslPWWG9xb52ItJ0a7tuLIGYdg0B6d3nbRtmhUJgEsabzNKoxoxjPJa3CrCh6wXkT790ij2efSzi9x0wCaWCkWJnIkg9xwNIXNb55QAwpxybSqUH991G1OJWC5ojuHSR/s1600/Intruders.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1049" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2P3zx-rR7UlqKKslPWWG9xb52ItJ0a7tuLIGYdg0B6d3nbRtmhUJgEsabzNKoxoxjPJa3CrCh6wXkT790ij2efSzi9x0wCaWCkWJnIkg9xwNIXNb55QAwpxybSqUH991G1OJWC5ojuHSR/s640/Intruders.jpg" width="414"></a></div>
<div class="separator" style="clear: both; text-align: center;">
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<div style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b><a href="https://cassavarepublic.biz/product/better-never-than-late/?v=79cba1185463"><i>Better Late than Never</i> by Chika Unigwe</a></b><o:p></o:p></span></div>
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<!--StartFragment-->
<!--EndFragment--></span><br>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Charts the unconventional lives and love affairs of a
group of Nigerian migrants, making their way in Belgium. The collection is
centred around Prosperous and her husband Agu, and the various visitors who
gather at their apartment each week. These interconnected stories explore their
struggles and triumphs, from unhappy marriages (of convenience or otherwise),
to the pain of homesickness, and the tragic paradox in longing to leave Nigeria
so that you may one day return to it.</span><o:p></o:p></div>
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHDOPvZiNTNMhmKfFZ2CA9II3rEHJu0ChpMg_rJnvxCjfjMPJdi9ZySpR1IVhYbCgrbAQ7s2U4099aMfz45cLve9NeNL0hO4ncYPMZdDUy8jIInzZb6l_B1Adv5ti3l-yU0juau_49Zdb-/s1600/Better-Never-Than-Late.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="640" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHDOPvZiNTNMhmKfFZ2CA9II3rEHJu0ChpMg_rJnvxCjfjMPJdi9ZySpR1IVhYbCgrbAQ7s2U4099aMfz45cLve9NeNL0hO4ncYPMZdDUy8jIInzZb6l_B1Adv5ti3l-yU0juau_49Zdb-/s640/Better-Never-Than-Late.jpg" width="400"></a></div>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-82684626234197264652019-06-08T01:08:00.000+01:002019-06-08T01:22:26.159+01:00Battle of the Covers: Who Wore It Better?<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh09W6mY2etrCG5gCEHtB6ODg12py2kFR__MXpfbvAIRorYtWBbtHdMwuwoNgfRbVoYZKT_-if6aeTqURyDBKnyVwDJ-e1ImymBDQnmXAP_A_dag51gk9DTUCIPDgX0nfXWF1UrcNX3yeXE/s1600/inCollage_20190608_011836549.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh09W6mY2etrCG5gCEHtB6ODg12py2kFR__MXpfbvAIRorYtWBbtHdMwuwoNgfRbVoYZKT_-if6aeTqURyDBKnyVwDJ-e1ImymBDQnmXAP_A_dag51gk9DTUCIPDgX0nfXWF1UrcNX3yeXE/s640/inCollage_20190608_011836549.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It's not always the case, but most of the time covers are designed for the market in mind - with</span><b style="font-family: arial, helvetica, sans-serif;"><a href="http://www.bookshybooks.com/2012/01/judging-book-by-its-cover-different.html"> regional differences in book covers</a></b><span style="font-family: "arial" , "helvetica" , sans-serif;">. </span>I've always felt that I tend to prefer the UK design of book covers, especially compared with t</span><span style="font-family: "arial" , "helvetica" , sans-serif;">he US ones. Still, I wanted to test out my theory by doing a battle of the covers to see if this really was the case. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">I've focused mainly on UK and US editions - although, for a few books, I've included other country editions. UK editions are all on the left/the first image for each book. Also, I've mainly focused on books published in 2018 or 2019, but there are a few books published </span><span style="font-family: "arial" , "helvetica" , sans-serif;">earlier including <i>The </i></span><i style="font-family: arial, helvetica, sans-serif;">Moor's Account </i><span style="font-family: "arial" , "helvetica" , sans-serif;">and </span><span style="font-family: "arial" , "helvetica" , sans-serif;">the Kenyan edition of </span><i style="font-family: arial, helvetica, sans-serif;">Kintu</i><span style="font-family: "arial" , "helvetica" , sans-serif;">. I know which ones are my faves, but who would win in your battle of the covers?</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2T7mGACvN1p1n8zGhvDC05wpdDt-pg2lpG_cUK_D4T5HiSxHiZ58uyU8F8CQVpRH4wCKfmgkZaYzp6IDy4UD7Fcl4bWa1imZLaBMRWTNIoMP8aljfPrIMGvErwiBoEpm8xqdi2vgIW_cS/s1600/Screenshot+2019-06-07+at+18.39.44.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1041" data-original-width="654" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2T7mGACvN1p1n8zGhvDC05wpdDt-pg2lpG_cUK_D4T5HiSxHiZ58uyU8F8CQVpRH4wCKfmgkZaYzp6IDy4UD7Fcl4bWa1imZLaBMRWTNIoMP8aljfPrIMGvErwiBoEpm8xqdi2vgIW_cS/s400/Screenshot+2019-06-07+at+18.39.44.png" width="251" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMHp92CbB7fnwWj7htVIizIQVBxb_vS6C8A5l0qiWFNk0MOFQ-_BwLLgB53mhI1CAZrwG4nmDcqZSmZUhQjlbY23grElG5ZenP0HHfBkRTJY_zZQd_a_1-EKXB9pBdet4CuTEH8ySnu7VM/s1600/Pet1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1122" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMHp92CbB7fnwWj7htVIizIQVBxb_vS6C8A5l0qiWFNk0MOFQ-_BwLLgB53mhI1CAZrwG4nmDcqZSmZUhQjlbY23grElG5ZenP0HHfBkRTJY_zZQd_a_1-EKXB9pBdet4CuTEH8ySnu7VM/s400/Pet1.jpg" width="280" /></a></div>
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<i><span style="font-size: x-small;">Pet by Akwaeke Emezi. UK cover <b><a href="https://twitter.com/azemezi/status/1135547068347551745">via twitter</a></b> (Faber & Faber, 2019) | US Cover (Random House Children's</span></i><i><span style="font-size: x-small;">, 2019). </span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw2GUZ-wwmarOAVJkbn26LJ2PuRUhaEYdEEMuNhfKk83V_MX_nEER89S5WqPf9KAkc0rrbZydHRXDe1lGJLeQ-aIv8vCdVneMPb2wnmBPpgD_YfKPRFOtgaEISjogIU4Twyl3QEVbxXWMy/s1600/toa_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="651" data-original-width="420" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw2GUZ-wwmarOAVJkbn26LJ2PuRUhaEYdEEMuNhfKk83V_MX_nEER89S5WqPf9KAkc0rrbZydHRXDe1lGJLeQ-aIv8vCdVneMPb2wnmBPpgD_YfKPRFOtgaEISjogIU4Twyl3QEVbxXWMy/s400/toa_2.jpg" width="256" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWRvicQtu2cCIPRTBK72QUQE6bWcYM9PjZcrzik8UamMtHC2RKGQFWKcnOftQ-j-LRBljiKql6hyiTL02WKHUAuzKTlBuLKLLwxNIbk1XSpo0jyesAVk3bADnimpEjZsEIoLgyS8DxmRZn/s1600/toa_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1061" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWRvicQtu2cCIPRTBK72QUQE6bWcYM9PjZcrzik8UamMtHC2RKGQFWKcnOftQ-j-LRBljiKql6hyiTL02WKHUAuzKTlBuLKLLwxNIbk1XSpo0jyesAVk3bADnimpEjZsEIoLgyS8DxmRZn/s400/toa_1.jpg" width="265" /></a></div>
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<i><span style="font-size: x-small;">The Other Americans by Laila Lalami. UK cover (Bloomsbury, 2019) | US Cover (Pantheon, 2019)</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixvsMvYYCLCvY1KkSziQ5Fc2342hRNaOQIQePDDzLXPQTnimVGngrKGs_IlWTeowtI3dsnVZ2ufe6iocyMMPUtmZkXU6IyS-ci1aDs56uCh0j_l6NIOXeh2WNN5BMkVp9P2RYyEH-DG6hA/s1600/MH1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1043" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixvsMvYYCLCvY1KkSziQ5Fc2342hRNaOQIQePDDzLXPQTnimVGngrKGs_IlWTeowtI3dsnVZ2ufe6iocyMMPUtmZkXU6IyS-ci1aDs56uCh0j_l6NIOXeh2WNN5BMkVp9P2RYyEH-DG6hA/s400/MH1.jpg" width="260" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj_6rhZ-e-UqxpbVfoVBAPeRFjSIM2mxGL_Jj_h-ySsmdvC1q5MpIpYPkAtIJKbbJZ5yjgZ8fq4tFwXrO7TmBnY2OyNcx5nA6ZNybhpYnhgBU8Qjq1q9g16g2JQwKAebQc7ulPMSqJO2c6/s1600/MH2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1050" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj_6rhZ-e-UqxpbVfoVBAPeRFjSIM2mxGL_Jj_h-ySsmdvC1q5MpIpYPkAtIJKbbJZ5yjgZ8fq4tFwXrO7TmBnY2OyNcx5nA6ZNybhpYnhgBU8Qjq1q9g16g2JQwKAebQc7ulPMSqJO2c6/s400/MH2.jpg" width="262" /></a></div>
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<i><span style="font-size: x-small;">Manchester Happened/Let's Tell This Story Properly by Jennifer Nansubuga Makumbi. UK cover (One World, 2019) | US Cover (Transit Books, 2019)</span></i></div>
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<i><span style="font-size: x-small;">She Would Be King byWayetu Moore. UK cover (Pushkin Press, 2019) | US Cover (Graywolf Press, 2018)</span></i></div>
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<i><span style="font-size: x-small;">Stay With Me by Ayobami Adebayo. UK Cover (Canongate, 2017) | US Cover (Penguin Random House, 2018) | Nigerian Cover (Ouida Books, 2018) | Kenyan Cover (Kwani?, 2018)</span></i></div>
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<i><span style="font-size: x-small;">Kintu by Jennifer Nansubuga Makumbi. </span></i><i><span style="font-size: x-small;">UK cover (One World, 2018) | </span></i><i><span style="font-size: x-small;">Kenyan Cover (Kwani?, 2014) | </span></i><i><span style="font-size: x-small;">US Cover (Transit Books, 2017) </span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwEXHHtPtyG949l9yu2cDuexhIZPAjM_3iQz2NrziRYiHB9ImLrrfyJWU8ajAfc8qgaCHmT9ar90f-fJk8R1wTJc4ZabS_xnAoQbHyY-STQ14By_X2PxjiInm2bJ9yjm1L0EtyjS0qGkxU/s1600/MA2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="346" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwEXHHtPtyG949l9yu2cDuexhIZPAjM_3iQz2NrziRYiHB9ImLrrfyJWU8ajAfc8qgaCHmT9ar90f-fJk8R1wTJc4ZabS_xnAoQbHyY-STQ14By_X2PxjiInm2bJ9yjm1L0EtyjS0qGkxU/s400/MA2.jpg" width="276" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMM_3kfOVabcmQfmoJTDEinoWAZGgUahSZGn7DMlEA6Oxt5ZJdaEC-5EhP6u08VqaKTmtYYeRNz4sp6iIq7L1COXSB2JVNsXU70AxB85J7X6CpwHRpj3ldWneoLfEJTCSUk7-qAkFb_kNo/s1600/MA1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="338" data-original-width="220" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMM_3kfOVabcmQfmoJTDEinoWAZGgUahSZGn7DMlEA6Oxt5ZJdaEC-5EhP6u08VqaKTmtYYeRNz4sp6iIq7L1COXSB2JVNsXU70AxB85J7X6CpwHRpj3ldWneoLfEJTCSUk7-qAkFb_kNo/s400/MA1.jpg" width="260" /></a></div>
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<span style="font-size: x-small;"><i>The Moor's Account by Laila Lalami. UK Cover (Periscope, 2015) | </i></span><i style="font-size: small;">US Cover (Pantheon, 2014) </i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwv7Npr9uhh28weT546m-zDYPY36o9LsV9hM2JT-1_7GxC7SnpqB6hfxG2U-Dc28YLKVvcniQ3IYlOcZpxZNdpDVJdH11ANn68Y0x3cmepQrfP3LEqBugF42ehTeTW0HxWGVfvJf5tMQun/s1600/Jakaranda1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="333" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwv7Npr9uhh28weT546m-zDYPY36o9LsV9hM2JT-1_7GxC7SnpqB6hfxG2U-Dc28YLKVvcniQ3IYlOcZpxZNdpDVJdH11ANn68Y0x3cmepQrfP3LEqBugF42ehTeTW0HxWGVfvJf5tMQun/s400/Jakaranda1.jpg" width="266" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhduO26rZhLeVDMzixUHoy2fa-jh7vd7By9vdw3aMK9_cxVWlZykkt1_nHyM93MSGnhRimK38JfIqxQEaBn22cEFW72pGbk6n2D1OYvUHhUteqZBDheW31VbX72-K106F7C6WvRystWRC5i/s1600/Jakaranda2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="324" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhduO26rZhLeVDMzixUHoy2fa-jh7vd7By9vdw3aMK9_cxVWlZykkt1_nHyM93MSGnhRimK38JfIqxQEaBn22cEFW72pGbk6n2D1OYvUHhUteqZBDheW31VbX72-K106F7C6WvRystWRC5i/s400/Jakaranda2.jpg" width="258" /></a></div>
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<i><span style="font-size: x-small;">Dance of the Jakaranda by Peter Kimani. UK cover (Saqi Books, 2018) | US Cover (Akashic Books, 2017)</span></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirGMPWrN-hjOAykU4qxEyHl46DPPa9uPcWSE-ms1nt7fNl0NMUMFLQxnFKUuIR5O_fYz_I6ey1jQsjbumdCXGJkEPkHHGiCk9ZWwNnZ0oqsZ4yUOSeUse8osAbJtC4DMmIOmbuLHNA1xlO/s1600/OP2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1040" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirGMPWrN-hjOAykU4qxEyHl46DPPa9uPcWSE-ms1nt7fNl0NMUMFLQxnFKUuIR5O_fYz_I6ey1jQsjbumdCXGJkEPkHHGiCk9ZWwNnZ0oqsZ4yUOSeUse8osAbJtC4DMmIOmbuLHNA1xlO/s400/OP2.jpg" width="260" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9XjXXpPZv48J_GO8mfZwXL8bvbiGPYYj_pcxSRE4TY3KEeLOKRqxERFogckaf1TBewvR29upiWgMmE4CwPjUbKb_YtKbS38JGuwY1ZnCRHXNOEJS6JGeAXopxjW-6SZb8yWTtv9SRx0Dz/s1600/OP1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="264" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9XjXXpPZv48J_GO8mfZwXL8bvbiGPYYj_pcxSRE4TY3KEeLOKRqxERFogckaf1TBewvR29upiWgMmE4CwPjUbKb_YtKbS38JGuwY1ZnCRHXNOEJS6JGeAXopxjW-6SZb8yWTtv9SRx0Dz/s400/OP1.jpg" width="263" /></a></div>
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<i><span style="font-size: x-small;">Ordinary People by Diana Evans. UK cover (Chatto & Windus, 2018) | US Cover (Liveright, 2018)</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz78FwkxedP2fyg06ve9OKs2_Ufqw-zLlW_IUi8A_J2L8NkyvpaWm0P0-78BjMbcVXolg0vzxpYebvKrsBD27lrcFBKC7Gm_aKY1-yaQEzJ7mm6KGrsUdo2UIAiDJZZugKi-2zuaCK50X-/s1600/FW2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1001" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz78FwkxedP2fyg06ve9OKs2_Ufqw-zLlW_IUi8A_J2L8NkyvpaWm0P0-78BjMbcVXolg0vzxpYebvKrsBD27lrcFBKC7Gm_aKY1-yaQEzJ7mm6KGrsUdo2UIAiDJZZugKi-2zuaCK50X-/s400/FW2.jpg" width="250" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIUf9zdUUObSe2-oiMo0sA0Taj4kd-jqRWgYR1e_xSDhkOy8s7NmPtdce7XhgcrjekCWMfaF1tpSqf0-Z8KnaIh3LeoLLBpVPoA-zItu-X7FmSOUa4Uqd9_GFmcEZVGe5FO5vhjfQ5pYT9/s1600/FW1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1027" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIUf9zdUUObSe2-oiMo0sA0Taj4kd-jqRWgYR1e_xSDhkOy8s7NmPtdce7XhgcrjekCWMfaF1tpSqf0-Z8KnaIh3LeoLLBpVPoA-zItu-X7FmSOUa4Uqd9_GFmcEZVGe5FO5vhjfQ5pYT9/s400/FW1.jpg" width="256" /></a></div>
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<i><span style="font-size: x-small;">Freshwater by Akwaeke Emezi. UK cover (Faber & Faber, 2018) | US Cover (</span></i><i><span style="font-size: x-small;">Grove Press, 2018)</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDL09-6Ah842SvDUiA8yBCOD-i_ShYdB04JEE0irF5K9dX659B50ibCtGjhdAWLQxYvP8sUN5mU3IN4f8pXIVJiGzRlQG-0P0SaTd_cQeIdm-cc4Lf1cgBr-sve5F5-xpk5wGgXBVD5_d/s1600/OM2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="660" data-original-width="440" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDL09-6Ah842SvDUiA8yBCOD-i_ShYdB04JEE0irF5K9dX659B50ibCtGjhdAWLQxYvP8sUN5mU3IN4f8pXIVJiGzRlQG-0P0SaTd_cQeIdm-cc4Lf1cgBr-sve5F5-xpk5wGgXBVD5_d/s400/OM2.jpg" width="266" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjovwp4h-dG8KsSr2BMlf9Fl9U4fU25GhiC7MdhmNq8iK7Y5jyh2AutPobOjdXTqxGgqergNSdLSjkYwS9AOwBCjKURI4e-lPsKXQxxZQVVDWhDQW8S6UTGTkWxwxrWdmiw9YHq-zCNe8W6/s1600/OM1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="323" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjovwp4h-dG8KsSr2BMlf9Fl9U4fU25GhiC7MdhmNq8iK7Y5jyh2AutPobOjdXTqxGgqergNSdLSjkYwS9AOwBCjKURI4e-lPsKXQxxZQVVDWhDQW8S6UTGTkWxwxrWdmiw9YHq-zCNe8W6/s400/OM1.jpg" width="258" /></a><br />
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<i><span style="font-size: x-small;">An Orchestra of Minorities by Chigozie Obioma. UK cover (Little Brown, 2019) | US Cover (</span></i><i><span style="font-size: x-small;">Little, Brown and Company, 2019)</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX-JUVUAIQrwNpulWsNEq7kevaXX3IHKjdLRbeJqWu-OEBg-J9ykZTPQZWkpM_cOs2CuWJcEBDNoa27lTJ4QcwLTberUwTRSPrZSrmZUb4TeTbn605w_avoZDeQCH7Lwzj74oSieYe7Gan/s1600/WB1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="286" data-original-width="176" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX-JUVUAIQrwNpulWsNEq7kevaXX3IHKjdLRbeJqWu-OEBg-J9ykZTPQZWkpM_cOs2CuWJcEBDNoa27lTJ4QcwLTberUwTRSPrZSrmZUb4TeTbn605w_avoZDeQCH7Lwzj74oSieYe7Gan/s320/WB1.jpeg" width="196" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRva8UPLMWxq7QzXk-Q7RQfchlHT7hrKfcQA2s9oYpY6U4KpvfRTmRgAvNfO3rLgdIS7jtFkplhSrBLMW0pSL3Xqs6IywOm2oJszO0AAIwGG1jR_zpSS_6RxQKJTc6YOkiuoMl_NHLajwl/s1600/WB2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="304" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRva8UPLMWxq7QzXk-Q7RQfchlHT7hrKfcQA2s9oYpY6U4KpvfRTmRgAvNfO3rLgdIS7jtFkplhSrBLMW0pSL3Xqs6IywOm2oJszO0AAIwGG1jR_zpSS_6RxQKJTc6YOkiuoMl_NHLajwl/s320/WB2.jpeg" width="216" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ2OfgUNHVtKQlutitmQc_570-P4WtxGqRe_MlgKt165pEMsCnLQUJPegH13vS_YSIGrKEKLVUaAYlrTiCqh6ouNQ8W4_-9FuyX1hrjRJAdonTyaUpRGOZiHWJa69RQ1h-T35tLsf4XEf2/s1600/WB3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="411" data-original-width="274" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ2OfgUNHVtKQlutitmQc_570-P4WtxGqRe_MlgKt165pEMsCnLQUJPegH13vS_YSIGrKEKLVUaAYlrTiCqh6ouNQ8W4_-9FuyX1hrjRJAdonTyaUpRGOZiHWJa69RQ1h-T35tLsf4XEf2/s320/WB3.jpg" width="213" /></a></div>
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<i><span style="font-size: x-small;">Washington Black by Esi Edugyan. UK cover (Serpent's Tail, 2018) | US Cover (Knopf, 2018) | Canadian Cover (Harper Collins, 2018)</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdiNuJTG1ICyMhDeiIuryCi1kBKpwPZaNl_k6VN0B062RQCCwvrDIYvlv4x6l-7Y8Xk73eizM_P1aDuHdMZn1IjOKXbK-aY0KJ7AEXAQ0klTxMGzWM4xx-K4evhyTQs79TKB6006XQsFA7/s1600/Happiness1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="681" data-original-width="420" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdiNuJTG1ICyMhDeiIuryCi1kBKpwPZaNl_k6VN0B062RQCCwvrDIYvlv4x6l-7Y8Xk73eizM_P1aDuHdMZn1IjOKXbK-aY0KJ7AEXAQ0klTxMGzWM4xx-K4evhyTQs79TKB6006XQsFA7/s400/Happiness1.jpg" width="246" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaMHjqF90bJdip2VKEueVvswWD1vKB80POKxpyWQl5RwKUx0GKoZ_ZYrdUdbHhz65Yk5SF7KfBdVr-nGTd7lwbAkJE8IWHC7Cw6yUOV3tmW9couK-FaSZdc-SB8Zp-zFzKMiNquJRAGlxT/s1600/Happiness2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaMHjqF90bJdip2VKEueVvswWD1vKB80POKxpyWQl5RwKUx0GKoZ_ZYrdUdbHhz65Yk5SF7KfBdVr-nGTd7lwbAkJE8IWHC7Cw6yUOV3tmW9couK-FaSZdc-SB8Zp-zFzKMiNquJRAGlxT/s400/Happiness2.jpg" width="266" /></a></div>
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<i><span style="font-size: x-small;">Happiness by Aminatta Forna. UK cover (Bloomsbury, 2018) | US Cover (Atlantic Monthly Press, 2018)</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG5QeUL-thcZ8j7nXt6Ev-zNiBFTW8VbxWTjlL5YNN8g7PqgDcpywHGkH89O_3cxcpBvKvvfjubvpFWSVe6_fvVq7yjYTYllnVJOGPJRvyj59U7xsyzl5sTwNSEekbbJ-Ob3dpw0I5whSZ/s1600/HS1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br class="Apple-interchange-newline" /><img border="0" data-original-height="1600" data-original-width="1129" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG5QeUL-thcZ8j7nXt6Ev-zNiBFTW8VbxWTjlL5YNN8g7PqgDcpywHGkH89O_3cxcpBvKvvfjubvpFWSVe6_fvVq7yjYTYllnVJOGPJRvyj59U7xsyzl5sTwNSEekbbJ-Ob3dpw0I5whSZ/s400/HS1.jpg" width="281" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lFf7_BDkDdFLfq-GrFzgj2kLuoXPlEh8_dxatDT_AyV4YorVH1PluJ1olAYPX_o2jZBvGsU88l0l0grlYilTM_6bs9gObWA61mN2eYFQlH99sMuU4zu40zKd__yWihRlpQE3aKSWQ2hf/s1600/HS2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="300" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lFf7_BDkDdFLfq-GrFzgj2kLuoXPlEh8_dxatDT_AyV4YorVH1PluJ1olAYPX_o2jZBvGsU88l0l0grlYilTM_6bs9gObWA61mN2eYFQlH99sMuU4zu40zKd__yWihRlpQE3aKSWQ2hf/s400/HS2.jpeg" width="266" /></a></div>
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<i><span style="font-size: x-small;">House of Stone by Novuyo Rosa Tshuma. UK cover (Atlantic Books, 2018) | US Cover (W.W. Norton & Company, 2019)</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzch9KB5PfNDeOqWsGNdaNR8-oKQns8CyF0foTAsj3UgW3d8Ovhga95ulSQnNbifNbXuSlyJnIVpt6jlVv0-FVGpVCxyy_YrhmErx97_jG5ikaJdma5dvopFgfXciFshC0l_DvBaVqEPju/s1600/Salaga1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="312" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzch9KB5PfNDeOqWsGNdaNR8-oKQns8CyF0foTAsj3UgW3d8Ovhga95ulSQnNbifNbXuSlyJnIVpt6jlVv0-FVGpVCxyy_YrhmErx97_jG5ikaJdma5dvopFgfXciFshC0l_DvBaVqEPju/s400/Salaga1.jpg" width="250" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQBzKc9bv4ioet3TWcMdn1gDCJ59WpYYRp3fOZx2VERlYlmor1hVTr-fEAKboe6s3ny7Ab-u9__tvcs2Tyofd37cJqnOe5m0NeX1kMMXr7Dip0QaqgA5-R9HihhKMuCK-CYmad0GCIabbQ/s1600/Salaga2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1044" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQBzKc9bv4ioet3TWcMdn1gDCJ59WpYYRp3fOZx2VERlYlmor1hVTr-fEAKboe6s3ny7Ab-u9__tvcs2Tyofd37cJqnOe5m0NeX1kMMXr7Dip0QaqgA5-R9HihhKMuCK-CYmad0GCIabbQ/s400/Salaga2.jpg" width="260" /></a><br />
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<i><span style="font-size: x-small;">The Hundred Wells of Salaga by Ayesha Harruna Attah. UK cover (Cassava Republic Press, 2018) | US Cover (Other Press, 2019)</span></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fifteen books, and different covers later, I can safely say for the most part I do prefer the majority of UK covers on this list. This is the case even when both covers are stunning. Take Akwaeke Emezi's <i>Pet </i>- both with gorgeous <b><a href="https://shyamagolden.com/pet">cover art by Shyama Golden</a></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;">, but the UK edition speaks more to me. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Where the US covers trump (no pun intended) the UK editions for me are Diana Evan's <i>Ordinary People </i>(cover designed by <b><a href="https://www.instagram.com/na_son/?hl=en">graphic designer Na Kim</a> </b>with artwork by <b><a href="http://salmankhoshroo.com/">Iranian painter Salman Khoshroo</a></b>) and Ayesha Haruna Attah's <i>The Hundred Wells of Salaga </i>(designed by <b><a href="https://loveiswiseillustration.myportfolio.com/projects">Loveis Wise</a></b>). T</span><span style="font-family: "arial" , "helvetica" , sans-serif;">here are also cases where I really do not care for either of the covers (Aminatta Forna's </span><i style="font-family: Arial, Helvetica, sans-serif;">Happiness </i><span style="font-family: "arial" , "helvetica" , sans-serif;">being one such case).</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://www.yatzer.com/salman-khoshroo/slideshow/18">Salman Khoshroo, Sabke Sevvom exhibition view, Azad art gallery, Tehran. Source: Yatzer</a></b>.</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />As a side, I find the UK editions of </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Diana Evan's </span><i style="font-family: Arial, Helvetica, sans-serif;">Ordinary People </i><span style="font-family: "arial" , "helvetica" , sans-serif;">designed by <b><a href="https://www.creativereview.co.uk/how-i-work-vintage-creative-director-suzanne-dean/">Suzanne Dean</a></b> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">and Jennifer Nansubuga Makumbi's <i>Manchester Happened</i> designed by <b><a href="https://www.hayleywarnham.com/Manchester-Happened">Hayley Warnham</a></b> to be pretty similar - even down to the maps on the corner. Dean's artwork for <i>Ordinary People </i>weaves maps of Crystal Palace in South London with West African wax print fabrics, while <i>Manchester Happened </i>weaves maps of Kampala and Manchester. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If, like me, you are also fascinated with the process of cover design, Spine Magazine has interesting features, including on </span><b><a href="https://spinemagazine.co/articles/sarahmay-wilkinson2"><span style="font-family: "arial" , "helvetica" , sans-serif;">Sarahmay Wilkinson's design for the cover of the US edition of Novuyo Rosa Tshuma's</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><i style="font-family: Arial, Helvetica, sans-serif;">House of Stone</i></a></b><span style="font-family: "arial" , "helvetica" , sans-serif;">, which goes for "</span><i style="font-family: Arial, Helvetica, sans-serif;">a bright abstract cover, to offset the dark and vivid nature of the narrative." </i><span style="font-family: "arial" , "helvetica" , sans-serif;">There's also</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="https://spinemagazine.co/articles/greg-heinimann">Greg Heinimann's design process for the UK edition of Laila Lalami's <i>The Other Americans</i></a></b><span style="font-family: "arial" , "helvetica" , sans-serif;">. Heinimann writes</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Throughout, I wanted a cover that left a visual clue and hidden meaning, but one that would still ground the project in its literary foundations and not veer off into the thriller genre. Perhaps an image that demanded closer inspection where a story would reveal itself.</i></span></blockquote>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-63038007870059467632019-02-11T16:53:00.001+00:002019-02-13T00:27:32.074+00:00#100AfricanWomenWriters: Reflecting on the First Twenty <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This took me way longer than anticipated - two years to be exact, but I have now featured the first twenty women in the series. Yay! </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">When I first thought about this series, all I knew was that I wanted to learn about African women writers, explore women writing in different medium and genres, and (as much as possible) look beyond Anglophone writers. Beyond that, I had no grand plans. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">I certainly had no strict methodology or selection criteria - other than writing about women. As a result, each entry has happened </span><span style="font-family: "arial" , "helvetica" , sans-serif;">because I came across a writer and was excited about what I was reading. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I'll be honest, in majority of the cases, I started researching and writing about one writer, stumbled across another one, started researching them, and ended up posting about the latter writer. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Still, I have learned a lot more about African women writers than I ever imagined I would. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">These writers - spanning from the eighteenth century to present day - and from different parts of the African continent (Gabon, Egypt, Cape Verde, Senegal, Angola, Sierra Leone, Botswana, Zimbabwe, Algeria, Benin, Guinea-Bissau, Kenya, Nigeria, South Africa, Mozambique and </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">São Tomé and Príncipe), all have </span><span style="font-family: "arial" , "helvetica" , sans-serif;">one common thread - they are dynamic. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Yes, they are writers, novelists, poets, playwrights and essayists but they are more than that. <span style="background-color: white;">Nigerian <b><a href="http://www.bookshybooks.com/2017/03/100africanwomenwriters-4-nana-asmau.html">Nana Asma'u</a></b> was a nineteenth century poet, </span><span style="background-color: white;">s</span><span style="background: white;">cholar, community leader and political commentator; Ghana-born and Sierra Leonean-raised </span><span style="background-color: white;"><b><a href="http://www.bookshybooks.com/2018/05/100africanwomenwriters-14-gladys-may.html">Gladys Casely-Hayford</a></b> - a poet, musician, dramatist, painter and storyteller; Kenya's <b><a href="http://www.bookshybooks.com/2017/04/100africanwomenwriters-6-grace-ogot.html">G</a></b></span><span style="background-color: white;"><b><a href="http://www.bookshybooks.com/2017/04/100africanwomenwriters-6-grace-ogot.html">race Ogot</a></b> was a nurse by training, but was also a member of Parliament, government minister and UN representative; and </span><span style="background-color: white;">Senegal's <b><a href="http://www.bookshybooks.com/2017/06/100africanwomenwriters-9-aminata-sow_19.html">Aminata Sow Fall's</a></b> </span><span style="background-color: white;">many accolades includes</span><span style="background-color: white;">: being a member of the Commission for Educational Reform responsible for the introduction of African literature into the French syllabus in Senegal, before becoming director of La Propriété littéraire (The Literary Property) in Dakar (1979-1988). She was appointed the first woman president of Senegal's Writer's Association in 1985. In 1990 she founded the publishing house Éditions Khoudia, was also Director of the </span><i style="background-color: white;">Centre Africain d'Animation et d'Echanges Culturels </i><span style="background-color: white;">in Dakar and head of the </span><i style="background-color: white;">Centre International d'Etudes, de Recherches et de Réactivation sur la Littérature, les Arts et la Culture</i><span style="background-color: white;"> that organised regular national and international Conferences in Saint-Louis. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Some of these writers were also significant figures in the fight for their country's independence. <b><a href="http://www.bookshybooks.com/2017/02/100africanwomenwriters-3-alda-do.html">Alda </a></b><b><a href="http://www.bookshybooks.com/2017/02/100africanwomenwriters-3-alda-do.html">do Espírito Santo </a></b>of <span style="background-color: white;">São Tomé and Príncipe was</span> <span style="background-color: white;">a member of the Political Bureau of the Movement for the Liberation of </span><span style="background-color: white;">São Tomé and Príncipe (</span><span style="background-color: white;">part of the transitional government that led </span><span style="background-color: white;">São Tomé and Príncipe</span><span style="background-color: white;"> to independence), a former Minister of Culture and Education, Social Affairs and Culture Minister, and the first woman to become Deputy Head of State and the founder of the National Union of Writers and Artists of Sao Tome. Then there was </span><span style="background-color: white;"><b><a href="http://www.bookshybooks.com/2017/02/100africanwomenwriters-1-lina-magaia.html">Lina Magaia</a></b> from Mozambique who was not only a journalist, agricultural development specialist, but also an activist and member of the FRELIMO liberation army, and a significant figure in post-independent Mozambique. </span></span><br />
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A lot of these women were also <i>firsts</i>: <b><a href="http://www.bookshybooks.com/2017/02/100africanwomenwriters-2-miriam-tlali.html">Miriam Tlali</a></b> (the first black woman to publish a novel in South Africa when <i style="background-color: white;">Muriel at Metropolitan</i><span style="background-color: white;"> was published in 1975</span>), <span style="background-color: white;">Aminata Sow Fall</span><span style="background-color: white;"> (</span><span style="background-color: white;">the first published woman novelist from Francophone Black Africa), </span><span class="srtitle"><span style="border: 1pt none windowtext; padding: 0cm;">Grace Ogot (one of the first African </span></span>women to have fiction published in English with two short stories published in 1963 and 1964 in <i>Black Orpheus</i> and <i>Transition </i>respectively), <span style="background-color: white;"><b><a href="http://www.bookshybooks.com/2017/04/100africanwomenwriters-7-filomena-embalo.html">Filomena Embaló</a></b> (the first woman in Guinea-Bissau to have written a novel with</span><span style="background-color: white;"> </span><i style="background-color: white;">Tiara</i><span style="background-color: white;">, published in 1999), </span><span style="background-color: white; white-space: pre-wrap;"><b><a href="http://www.bookshybooks.com/2019/02/100africanwomenwriters-20-orlanda.html">Orlanda Amarílis </a></b>(the first woman Cape Verdean writer to publish a book-length work of fiction</span><span style="background-color: white; white-space: pre-wrap;">)<i>,</i> </span><span style="background-color: white; white-space: pre-wrap;"><b><a href="http://www.bookshybooks.com/2019/01/100africanwomenwriters-18-angele-rawiri.html">Angèle Rawiri</a></b> (</span><span style="background-color: white; white-space: pre-wrap;">said to be Gabon’s first novelist), and Namibian </span><span style="white-space: pre-wrap;"><b><a href="http://www.bookshybooks.com/2019/01/100africanwomenwriters-19-neshani.html">Neshani Andreas</a></b> (</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;">the </span></span><span style="background-color: white; white-space: pre-wrap;">first and only Namibian writer to be included in </span><span style="background-color: white; white-space: pre-wrap;">Heinemann African Writers Series with her debut novel, <i>The Purple Violet of Oshaantu </i>that was </span><span style="background-color: white; white-space: pre-wrap;">published in 2001).</span></span><br />
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<span style="color: #777777; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">These are also prolific writers, and their accolades alone would be too immense for one blog post: </span></span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Aminata Sow Fall</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> has also published more than eight novels and a number of essays, including </span><i style="background-color: white; font-family: Arial, Helvetica, sans-serif;">Un grain de vie et d'espérance </i><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">(</span><i style="background-color: white; font-family: Arial, Helvetica, sans-serif;">Food for thought and tomorrow's life</i><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">) in 2002 on </span><span style="font-family: "arial" , "helvetica" , sans-serif;">her reflection on the significance of food in Senegal, followed by some twenty recipes proposed by Senegalese Chef Margo Harley.</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">In June 2015, Fall received the </span><i style="background-color: white; font-family: Arial, Helvetica, sans-serif;">Grand Prix de la Francophonie </i><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">for her literary work in French. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">In 1997, Aminata Sow Fall was awarded an Honorary Degree at Mount Holyoke College, South Hadley, Massachusetts. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Egyptian writer, activist and professor of American and English literature <b><a href="http://www.bookshybooks.com/2017/03/100africanwomenwriters-5-radwa-ashour.html">Radwa Ashour</a></b>, </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">has written seven novels, an autobiography, two collections of short stories and five criticism books, as well as a major 4-volume work on Arab women writers, she co-edited in 2004 and works that Ashour co-translated from English to Arabic. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Ashour also won numerous awards including the 2007 Constantine Cavafy Prize for Literature and the 2011 Owais Prize. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">Highly acclaimed, </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; text-align: justify;">Algerian writer, filmmaker and women’s rights activist, <b><a href="http://www.bookshybooks.com/2018/01/100africanwomenwriters-11-assia-djebar.html">Assia Djebar</a></b></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> became the first Algerian woman to be elected to </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">France’s most prestigious cultural institution -</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> the Academia Francaise - in 2005. Djebar's</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> other numerous awards - in 1996 winning the Neustadt International Prize for Literature for </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">contributions to world literature, in 1997 taking home the Yournecar Prize and in 2000 becoming the</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> first female Arab writer to be awarded the Peace Prize of the German Book Trade. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Assia Djebar was also the first Algerian woman to make a film within a national cinema that only began after Algeria’s independence from France in 1962. </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Djebar’s achievements as a director were also recognised: in 1979 </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">she received the International Critics Prize at the Venice Film Festival for her movie <i>La Nouba des Femmes du Mont Chenoua </i>(<i>The Party of the Women of Mount Chenoua</i>), which<span style="color: #333333;"><a href="https://womensfilmandtelevisionhistory.wordpress.com/2015/05/03/assia-djebar-algerian-writer-and-filmmaker-1936-2015/" style="color: #555555; text-decoration-line: none;"> </a></span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif;">told the story of an Algerian expatriate who returns to her country </span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">sixteen years after the end of the independence war. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Her second film, <i>La Zerda ou les chants de l’oubli</i> (</span><span style="background: white; font-family: "arial" , "helvetica" , sans-serif;"><i>Zerda and the songs of forgetting</i></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">), a documentary juxtaposing French newsreels of World War I and II and Algerian women singing traditional songs, won the prize for the best historical film at the Berlinale in 1982. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; white-space: pre-wrap;">A lot of the writers featured also encountered obstacles in becoming writers. Neshani Andreas '<i>always wanted to write</i>', but it '<i>was not recognised</i>' or '<i>encouraged as a serious activity</i>' in her community; </span><span style="background-color: white;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Egyptian <b><a href="http://www.bookshybooks.com/2019/01/100africanwomenwriters-17-alifa-rifaat.html">Alifa Rifaat</a></b> from an early age </span></span><span style="white-space: pre-wrap;">was strongly reprimanded by her older sister for writing<span style="background-color: white;">, prevented from writing by her husband and </span></span><span style="background-color: white; white-space: pre-wrap;">had to write under the pseudonym of Fatimah Rifaat; and</span><span style="background-color: white; white-space: pre-wrap;"> Grace Ogot also </span>initially struggled to get her stories published as '</span><i style="font-family: Arial, Helvetica, sans-serif;">the Manager of East African Literature Bureau ... really couldn't understand how a Christian woman could write such stories, involved with sacrifices, traditional medicines and all, instead of writing about Salvation and Christianity.'</i><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Those writers that were away from their home also wrote about feelings of alienation or exile. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Born in Benin (formerly known as Dahomey), Harlem-based poet, writer and playwright <b><a href="http://www.bookshybooks.com/2017/04/100africanwomenwriters-8-rashidah.html">Rashidah Ismaili AbuBakr' </a></b></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">emigrated to New York in 1956/7, and writes</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> essays of her </span><span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">experiences as an African woman in 1960s America</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; text-indent: -1em;">, as can be seen in her essay,</span><span style="background-color: white; text-indent: -1em;"> </span><span style="background-color: white; text-indent: -1em;"><i>West African Women in Exile: City, University and Dislocated Village</i>. As a Cape Verdean writer in Lisbon, a lot of </span><span style="white-space: pre-wrap;">Orlanda Amarílis' stories </span><span style="background-color: white; white-space: pre-wrap;">are noted for their depiction of </span><span style="background-color: white; white-space: pre-wrap;">the life of migrants from Cape Verde in Portugal, </span><span style="background-color: white; white-space: pre-wrap;">with a particular focus on Cape Verdean women. While </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Angèle</span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"> </b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rawiri - who had lived in Gabon, France and the UK - considered herself a ‘<i>deracinee</i>’ (<i>uprooted woman</i>), had a feeling of 'perpetual exile' and</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> '</span><span style="white-space: pre-wrap;"><i>never felt at home on African soil and at the same time, I didn’t feel at home in Europe either</i>’. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Interestingly, while writers such as Radwa </span></span><span style="background-color: white;">Ashour and </span><span style="background-color: white; text-align: justify;">Assia Djebar (who also wrote under a pen name) were open about being feminists. Indeed, Ashour's </span><span style="background-color: white;">writing reflected her own gendered experience and national identity: '<i>As a woman and as a person in Egypt, in a third world country ... this is what I know most: thwarted aspirations</i>'; but was also written in</span><span style="background-color: white;"> '<i>self-defence and in defence of countless others with whom I identify or who are like me</i>'. Other</span><span style="background-color: white; text-align: justify;"> writers did not openly embrace a feminist label.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Alifa Rifaat did </span></span><i style="white-space: pre-wrap;">not identify as a feminist in the Western-sense - even though Rifaat argued that 'Women ... have a right to be fulfilled in their sexual and emotional lives', and for more sexual education for women, 'if only through books'</i><span style="background-color: white; font-style: italic; white-space: pre-wrap;">. </span><span style="background-color: white;"><span style="background-color: transparent; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Similarly, Senegalese writer <b><a href="http://www.bookshybooks.com/2019/01/100africanwomenwriters-16-mariama-ba.html">Mariama </a></b></span><b><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="http://www.bookshybooks.com/2019/01/100africanwomenwriters-16-mariama-ba.html">Bâ</a> </span></b></span><span style="text-align: justify; white-space: pre-wrap;">was also known to be active in women’s associations and a defender of women’s rights. </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Bâ<b> </b></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: justify; white-space: pre-wrap;">emphasised women’s right to education, recognised the importance of women’s education, and fought for it – among other rights – through speeches and articles published in local newspapers. </span><span style="text-align: justify; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">However, Bâ refused the label of feminism so as to reject notions widely associated with white feminism, such as the belief that women were better or more important than men. </span></span>The same is observed with Botswana's <b><a href="http://www.bookshybooks.com/2018/05/100africanwomenwriters-13-bessie-head.html">Bessie Head</a></b>, <span style="background-color: white;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">whose works explored the effects of racial and social oppression, as well as exile – drawing a lot from her own experiences of discrimination both in her birthplace of South Africa and in her adopted land of Botswana. While Head's novels and short stories emphasised a lot of these experiences from a female perspective, Head </span>always emphasised that her outlook was a universal one – refusing to be seen as a feminist, as she abhorred all oppression - racial, sexual, and political, but also refusing to be called an African writer, a black writer, or a revolutionary writer. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">As prolific and dynamic as these writers all are, sadly, some <span style="background-color: white;">lived very short lives. </span><span style="white-space: pre-wrap;">Neshani Andreas </span>was diagnosed with lung cancer in early 2010 and passed away in 2011 (in her later 40s). <span style="background-color: white;">Still, they accomplished a lot in their time here. </span><span style="background-color: white;">Z</span><span style="background: white;">imbabwean </span><span style="background-color: white;">writer, women’s rights activist and Arts Director,</span><span style="background-color: white;"> </span><span style="background: white;"><b><a href="http://www.bookshybooks.com/2018/01/100africanwomenwriters-12-yvonne-vera.html">Yvonne Vera</a></b> passed away in 2005, at the young age of 40, but in her lifetime she </span>published: a short story collection, <i>Why Don't You Carve Other Animals?</i>(1992), and five novels - <i>Nehanda </i>(1993), <i>Without A Name</i> (1994), <i>Under The Tongue</i> (1996), <i>Butterfly Burning</i> (1998) and <i>The Stone Virgins</i>(2002). Vera also edited <i>Opening Spaces </i>– an anthology of contemporary writing by African women. <span style="background-color: white;">She also </span><span style="background: white;">won numerous national and international awards, </span><span style="background: white;">including the Zimbabwean Publisher’s Literary Award for best novel in 1996 and 1997, the 1997 Commonwealth writer's prize for best novel, </span><span style="background: white;">Africa</span><span style="background: white;"> region, for <i>Under The Tongue</i>, the Macmillan writer's prize for Africa, for <i>The Stone Virgins</i> in 2002 and the Tucholski prize awarded by Swedish PEN in 2004. </span><span style="background-color: white;">Angola's <b><a href="http://www.bookshybooks.com/2017/06/100africanwomenwriters-10-deolinda.html">Deolinda Rodríguez de Almeida</a></b> lived an extremely short, but rich life - being executed in prison around the age of 29. Known as the ‘Mother of the Revolution’- Angola’s Revolution – Deolinda was </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">a writer, a poet, </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">and an </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Angolan nationalist, heroine, militant and translator.</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> de Almeida's writings can be found in two books - her diary, </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><i>Diário de um e xílio sem regress </i>published in </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">2003; and</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> her letters and correspondence - </span><i style="background-color: white; font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "arial";">Cartas de Langidila e outs </span></i><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><i>documents</i>, published in 2004. They are both published in Portuguese. Finally, </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Angolan poet, essayist, doctor and political activist <b><a href="http://www.bookshybooks.com/2019/01/100africanwomenwriters-15-alda-lara.html">Alda Ferreira Pires Bareto de Lara Albuquerque</a></b> (Alda Lara)</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> passed away at the age of 32 - but was also a prolific writer, who '</span><i style="background-color: white; font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">wrote extensively about freedom and justice, as well as the place of motherhood in a more equitable society.'</i><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is a brief reflection of what I have learned about </span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.bookshybooks.com/search/label/%23100AfricanWomenWriters">the first twenty writers in this series</a></b><span style="font-family: "arial" , "helvetica" , sans-serif;">, and there is</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> a lot more I haven't touched on here. More than that, I am excited to see what I am going to learn about the next 80 writers in the series. And, yes, I am aware that based on my current track record it will probably take me another two years to get to 40. But if there's one thing I have taken from this process is that this will most definitely take me a long time to complete, but it will also probably morph into something I am yet to anticipate, and I am completely fine with that. </span></div>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-63188365438539111432019-02-10T22:15:00.000+00:002019-02-10T22:15:44.278+00:00#100AfricanWomenWriters: 20. Orlanda Amarílis<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><b><a href="http://www.elfikurten.com.br/2015/05/orlanda-amarilis.html">Source: elfikurten.com</a></b></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Orlanda Amarílis Lopes Rodrigues Fernandes Ferreira (Orlanda Amarílis) was a Cape Verdean writer, who was said to be the first woman Cape Verdean writer to publish a book-length work of fiction. </span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Born in 1924 in Santa Catarina, in the island of Ilha de Santiago, Cape Verde, </span><span style="background-color: white; white-space: pre-wrap;">Amarílis'</span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> primary and secondary schooling was in Mindeol, Sao Vicente Island. <b><a href="https://www.hercampus.com/school/casper-libero/5-female-authors-lusophone-africa-you-read">She also lived in Angola and in India - pursuing her teacher training in Goa. Later, she graduated in Pedagogic Sciences at the Faculty of Letters in Lisbon</a></b>. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">At the age of twenty-one, Amarílis married the Portuguese writer and critic Manuel Ferreira - then in the military service in Cape Verde during the Second World War. They had two children, </span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b><a href="https://www.hercampus.com/school/casper-libero/5-female-authors-lusophone-africa-you-read">travelled widely </a></b></span><span style="background-color: white; white-space: pre-wrap;"><b><a href="https://www.hercampus.com/school/casper-libero/5-female-authors-lusophone-africa-you-read">and were involved in political and professional organisations</a></b>. Indeed, </span></span><span style="background-color: white; font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">Amarílis was </span><b style="background-color: white; font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><a href="https://www.hercampus.com/school/casper-libero/5-female-authors-lusophone-africa-you-read">committed to the fight against colonialism</a></b><span style="background-color: white; font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"> and was a member of the Portuguese Movement against Apartheid (MPCA). </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Orlanda Amarílis passed away in 2014, but in her lifetime, </span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b><a href="https://dspace.library.uu.nl/bitstream/handle/1874/620/pt3c2.pdf">she collaborated with several magazines</a></b></span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> including </span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i>Certeza</i></span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (in Cape Verde), </span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i>África</i></span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (Lisbon), and the newspaper </span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i>O Heraldo</i></span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (in Goa, India). </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Her first stories were published in the 1940s in the </span><span style="background-color: white; white-space: pre-wrap;">short-lived </span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Cape Verdean magazine </span><span style="background-color: white; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Certeza </span><span style="background-color: white; white-space: pre-wrap;">(two issues published)</span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">Her first short story collection was </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Cais-do-Sodre Te Salamansa </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">in 1974 </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">composed of </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">seven stories, including '<b><a href="https://exchanges.uiowa.edu/issues/hysterium/nina/">Nina</a></b>' which focused on racism, notions of identity, sexism and the feeling of loneliness</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"> experienced by immigrants. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Excerpt of Nina (in Portuguese and English). <b><a href="https://exchanges.uiowa.edu/issues/hysterium/nina/">Source: Exchanges: Journal of Literary Translation</a></b></td></tr>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><span style="background-color: white; white-space: pre-wrap;">Living primarily in Lisbon since her marriage, </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Amarílis' trilogy of short-story collections: </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-style: italic; white-space: pre-wrap;">Cais-do-Sodre Te Salamansa</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, <i>Il</i></span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">héu dos pássaros </i><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">(1983)<i> </i>and </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">A Casa dos Mastros </i><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">(1989) are noted for their <b><a href="https://muse.jhu.edu/chapter/1253650">depiction of Cape Verdean lives, both on the islands and in the diaspora, with a particular focus on Cape Verdean women</a></b>. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">M</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><span style="background-color: white; white-space: pre-wrap;">any of </span>Amarílis' <span style="vertical-align: baseline;">short stories portray the life of migrants from Cape Verde in Portugal, notably in the collection </span><span style="font-style: italic; vertical-align: baseline;">Cais do Sodre Te Salamansa</span><span style="vertical-align: baseline;">,</span><span style="font-style: italic; vertical-align: baseline;"> </span><span style="vertical-align: baseline;">and the forms of solidarity created by </span></span><span style="background-color: white; font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">Cape Verdeans in Lisbon as they </span><span style="background-color: white; font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">'negotiate the harsh realities of life in urban Portugal and reflect on memories of their lost homeland'. </span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><br /></span></span>
<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">A piece on </span><b style="background-color: transparent;"><a href="https://dspace.library.uu.nl/bitstream/handle/1874/620/pt3c2.pdf">Creole Literature from Cape Verde</a></b><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> notes that:</span></span><br />
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<span style="background-color: white; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Orlanda Amarílis has lived in Portugal (Lisboa) for several years [but] one of the basic references to understand her writing is that her displaced position in Portugal created a sort of ambivalence, marking her texts in contradictory ways, as an intimate, “insider” of Cape Verde, and at the same time, as a critical, estranged “outsider”. As a Cape Verdean writer in diaspora, Orlanda Amarílis has a double perspective on the evolution of this postcolonial literature being as she is, both inspired by the local realities of the archipelago, and at the same time, as a displaced emigrant, looking back on Cape Verde from abroad, reflecting on the condition of other less privileged fellow emigrants. As Phyllis Peres points out, Orlanda Amarillis' in-between place 'calls attention to the larger question of what it means to be a diasporic writer'.</i></span></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Amarílis'<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> also wrote a tale in an anthology of Portuguese women writers <i>Fantástico no Feminino </i>(1985) and</span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline;"> other works include: </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline;">Escrita e Comabte </span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline;">(1976), </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline;">Contos-O Campo da Palava </span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline;">(1985), </span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline;">and </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline;">Afecto as Letras-Prado Coelho </span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline;">(1988).</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> Amarílis' also wrote children’s stories. </span></span></span></div>
bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-70501822409200858132019-01-11T14:29:00.000+00:002019-01-11T14:34:58.568+00:00#100AfricanWomenWriters: 19. Neshani Andreas<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://sisternamibiatest2014.files.wordpress.com/2017/09/neshani-andreas-a-passion-for-writing.pdf">Image Source: Sister Namibia</a></b></td></tr>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><br />"<i>For most of my life I just wrote for myself ... I never told anybody</i>." said </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Namibian writer, Neshani Andreas in a 2005 interview with </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Erika von Wietersheim.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;">Said to be the </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">first Namibian (and only Namibian writer) to be included in </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Heinemann African Writers Series with debut novel, <i>The Purple Violet of Oshaantu </i>(</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">published in 2001), Andreas </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><a href="http://eprints.maynoothuniversity.ie/965/1/As_Honest_and_Realistic_as_Possible,_Africa_March_2007,_Vol_72_No_2.pdf" style="font-weight: bold;">'<i>always wanted to write ... I wrote as a child, in high school, as long as I can remember</i></a>.'<b> </b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Andreas (t</span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">he second of eight children) was born in 1964 in Walvis Bay, Namibia. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">Her parents worked in a fish factory and writing as an occupation </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><b><a href="http://eprints.maynoothuniversity.ie/965/1/As_Honest_and_Realistic_as_Possible,_Africa_March_2007,_Vol_72_No_2.pdf">'<i>was not recognised</i>' or '<i>encouraged as a serious activity</i>' in her community</a></b>. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">As Andreas goes on to explain about being '<i>shy and almost embarrassed</i> about </span><i style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">a passion that was completely strange to the society in which she grew up':</i></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>I lived in a world that did not make sense to anybody else. On the other hand I had to fit into a world around me that did not make much sense to me.</i></span></blockquote>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">As <a href="http://eprints.maynoothuniversity.ie/965/1/As_Honest_and_Realistic_as_Possible,_Africa_March_2007,_Vol_72_No_2.pdf" style="font-weight: bold;">Erika von Wietersheim writes</a>, this difference was further exacerbated by Andreas' friends reaction to telling them about her passion:</span></span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>Andreas was in her early twenties when she made the first attempt to mention to friends that she liked writing. The reaction was devastating; nobody gave her wish to write any serious thought, and the young woman felt even more discouraged than before. Undeterred, Andreas continued her lonely writing for the following ten years, filling pages and pages with notes. "My writings became part of my luggage whenever I moved from one place to the next. They were my most treasured things," she says. </i></span></span></blockquote>
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In the meantime, Andreas <span style="vertical-align: baseline;"><b><a href="https://woyingi.wordpress.com/2010/07/13/african-writer-profile-neshani-andreas-2/)">trained as a teacher at Ongwediva Teachers' College</a></b></span><span style="vertical-align: baseline;">, and taught English, history and business economics from 1988 to 1992 in a school in rural northern Namibia. Living there and being</span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> immersed in the rural culture led to Andreas developing </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">a profound respect for the women she encountered - an experience that inspired </span><i style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">The Purple Violet of Oshaantu.</i><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> </span><br />
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Andreas </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">then went on to complete a Bachelor of Arts and Post Graduate Diploma in Education at the newly established University of Namibia in Windhoek. She then became Associate Peace Corps Director for the US Peace Corps in Namibia, a position she held for four years. Thereafter she worked for the Forum of African Women Educationalists in Namibia (FAWENA) - a</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">n organisation promoting women's and girls' education - </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> as Programme Officer. </span><br />
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<tr><td class="tr-caption" style="font-size: 12.8px;"><b><a href="http://gallery.wacom.com/gallery/72268079/forgotten-women">Illustrations by Zing Tsjeng for the book series Forgotten Women </a></b></td></tr>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><span style="vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A <b><a href="http://weaverpresszimbabwe.com/interviews/199-interview-neshani-andreas-by-erika-von-wietersheim.html">turning point in Andreas' writing career </a></b>came when she finally met someone who shared her literary passion: </span></span></span><br />
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><span style="vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>One day she was speaking to a young Peace Corps Volunteer, Reed Dickson, and mentioned in passing that she had tried her hand at writing. Dickson's reaction was different from any Andreas had experienced so far. Dickson immediately asked his shy colleague to show him some of her notes. Andreas gave him a few pages to read and, to her surprise, he was impressed. "This was one of the most treasured moments in my life," she remembers. "I had met the first person in my life who showed interest and understanding in my writing." </i></span></span> </span></blockquote>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><i style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">The exhilaration of being acknowledged as a writer prompted Andreas to buy a laptop computer, and she started writing with a purpose. All the stories stored in her mind for years, particularly about village life in northern Namibia, surfaced in an outburst of creativity. "Now I was doing it!" she recalls. "There were papers lying all over in my room, I was writing all day." </i></span></blockquote>
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<span id="docs-internal-guid-34825fb8-7fff-6155-aaaa-8fbea497125b"><span id="docs-internal-guid-34825fb8-7fff-6155-aaaa-8fbea497125b"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Neshani <b><a href="https://woyingi.wordpress.com/2010/07/13/african-writer-profile-neshani-andreas-2/">completed the manuscript for her novel in 1999 and presented it to Namibian publisher</a></b>, Jane Katjavivi, who presented it to the Heinemann African Writers Series. </span></span></span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Katjavivi is said to consider this as '<i>one of the most memorable moments in her publishing career, realising as soon as she had read the manuscript that it would be a success</i>'. </span><br />
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Set in the </span><b style="background-color: white; font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><a href="http://eprints.maynoothuniversity.ie/965/1/As_Honest_and_Realistic_as_Possible,_Africa_March_2007,_Vol_72_No_2.pdf">fictional rural village of Oshaantu</a></b><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, <i>The Purple Violet of Oshaantu</i> is the story of the friendship between two women, Mee Ali and Kauna, narrated through the voice of Mee Ali. While Mee Ali is happily married to Michael, Kauna is trapped in an abusive marriage to Shange. While her neighbours and family are aware that Kauna is being treated brutally by her husband, social custom dictates that they should not intervene. </span></div>
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<span id="docs-internal-guid-34825fb8-7fff-6155-aaaa-8fbea497125b"><span id="docs-internal-guid-34825fb8-7fff-6155-aaaa-8fbea497125b"><b style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><a href="http://eprints.maynoothuniversity.ie/965/1/As_Honest_and_Realistic_as_Possible,_Africa_March_2007,_Vol_72_No_2.pdf">Talking about the novel, and finding the right balance when writing it, in an interview Andreas</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> </span></span></span><br />
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<i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">... did not want to be insensitive to my culture, I did not want to be insulting, but I wanted to be as honest and realistic as possible. ... </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">I have to write honestly, otherwise I would feel uncomfortable. Being dishonest to please others goes against your own creativity.</span></i></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Andreas also did not want to</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> focus on the South African military occupation, retu</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">rn from exile and political events in post-independent Namibia:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>I had to write about other things; travelling in overcrowded minibuses, selling and buying at markets, about sickness, witchcraft and church, about ordinary things.</i></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: normal;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "times"; white-space: normal;"></span>While the novel was a success, Andreas wrote at a time where the literary culture in Namibia was still in its infancy. As explained in the </span></span><span style="vertical-align: baseline;"><b><a href="http://weaverpresszimbabwe.com/interviews/199-interview-neshani-andreas-by-erika-von-wietersheim.html">2005 interview with Erika von Wietersheim</a></b> </span></span></span><br />
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<span id="docs-internal-guid-34825fb8-7fff-6155-aaaa-8fbea497125b"><span id="docs-internal-guid-34825fb8-7fff-6155-aaaa-8fbea497125b"><span style="vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>"Writing is a lonely business … You write alone, and you never know if anybody will ever read what you write." But Andreas remains passionate about the written word. "I could never stop writing. It is with me every day, I never forget it. I edit in my mind whatever I hear or read. I pick up what people say, how they say it, I pick up words, expressions ..."</i></span></span></span></span></blockquote>
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<span id="docs-internal-guid-34825fb8-7fff-6155-aaaa-8fbea497125b"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; white-space: pre-wrap;">It must have been particularly lonely, as </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Andreas noted that </span></span><br />
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<span id="docs-internal-guid-34825fb8-7fff-6155-aaaa-8fbea497125b"><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>Writing is still not encouraged by Namibian society, it is not regarded as a respectable job, as something that has any benefit. It is my dream to write full-time, to wake up every morning and to know that this is my job, my life, just to write.</i></span></span></blockquote>
<span id="docs-internal-guid-34825fb8-7fff-6155-aaaa-8fbea497125b"><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Yet, Andreas continued to write, and had finished her second novel at the time of her interview: "<i>It is quite different from the first one</i>". </span> <span style="font-family: "arial" , "helvetica" , sans-serif;">Andreas was diagnosed with lung cancer in early 2010 and passed away in 2011.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZS8HZzfV6j4ohbLBcsDavN1cSUqKR2xZmeCNUuDFNE6f1_sSjA4uSECBpcZklyRPU0XVxEUh_vyKVn5JQfKNFvWoNQgPOb1UcM35Lgvae7TB36z9fYWZ-yor7ZuAzan_2IUUanNJfoWIz/s1600/Screenshot+2018-12-30+at+13.37.09.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1542" data-original-width="1202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZS8HZzfV6j4ohbLBcsDavN1cSUqKR2xZmeCNUuDFNE6f1_sSjA4uSECBpcZklyRPU0XVxEUh_vyKVn5JQfKNFvWoNQgPOb1UcM35Lgvae7TB36z9fYWZ-yor7ZuAzan_2IUUanNJfoWIz/s1600/Screenshot+2018-12-30+at+13.37.09.png" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><b><a href="https://sisternamibiatest2014.files.wordpress.com/2017/09/neshani-andreas-a-passion-for-writing.pdf">Interview: Neshani Andreas by Erika von Wietersheim. Source: Sister Namibia</a></b></td></tr>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-91735792510052960292019-01-09T12:31:00.000+00:002019-01-09T12:44:15.726+00:00#100AfricanWomenWriters: 18. Angèle Rawiri <div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeY0zOTyJ5Z6MgQbqyfhJ3QHvqmDc3FztPhg5t-EOUMCx53ObA7gTjA2iLrJSC1p8uJlMdvkLLCg8sBuirDsgAyXIGfuK4PJ0tLaRCXydz5GpxewnIVUyPb4jPuBjz4Rl0Fu021XNZmSXa/s1600/Ange%25CC%2580le+Rawiri+Ntyugwetondo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="448" data-original-width="315" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeY0zOTyJ5Z6MgQbqyfhJ3QHvqmDc3FztPhg5t-EOUMCx53ObA7gTjA2iLrJSC1p8uJlMdvkLLCg8sBuirDsgAyXIGfuK4PJ0tLaRCXydz5GpxewnIVUyPb4jPuBjz4Rl0Fu021XNZmSXa/s400/Ange%25CC%2580le+Rawiri+Ntyugwetondo.jpg" width="281" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://litteratureetecrivainsdailleurs.blog/2018/06/06/angele-rawiri-premiere-romanciere-gabonaise-1954-2010/">Source: litterature et ecrivains dailleurs</a></b></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>I hadn’t thought about [becoming Gabon’s first novelist]. I was rather taken up by my reflections, my doubts, my worries, my fears. When the novel came out, I found out that I was the first.</i></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">These were the words of Gabonese writer Angèle Rawiri in a 1988 interview for the African women’s magazine, </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b><a href="http://aflit.arts.uwa.edu.au/AMINARawiri.html">Amina</a></b></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">,</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> translated by </span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Cheryl Toman in her book </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b><a href="https://books.google.co.uk/books?id=MUghDQAAQBAJ&pg=PA2&lpg=PA2&dq=ang%C3%A8le+rawiri&source=bl&ots=4Y1vJeJLPO&sig=cIJDxPzRVzCCCVzk9DbHp1FHY2s&hl=en&sa=X&ved=2ahUKEwit_NC_pM3fAhVEUxoKHVMhDPA4FBDoATAEegQIBhAB#v=onepage&q=ang%C3%A8le%20rawiri&f=true">Women Writers of Gabon: Literature and Herstory</a></b></span><span style="vertical-align: baseline; white-space: pre-wrap;">.</span></span><br />
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<span id="docs-internal-guid-f2fede8c-7fff-0115-2763-fa0fa6d61ba8"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Born in 1954 in Port-Gentil (her father was the president of the Gabonese Senate and poet; her mother, who passed away when </span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Angèle </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">was six, was a teacher), Rawiri was said to be Gabon’s first novelist with Cheryl Toman noting that:</span></div>
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<span id="docs-internal-guid-f2fede8c-7fff-0115-2763-fa0fa6d61ba8"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Angèle Rawiri has played quite a unique role in the development of national literature in Gabon and historically speaking, she has set herself apart from other pioneering women authors of any time period or tradition. </i></span></span></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Rawiri was said to be quiet about her public life - even though her father was a prominent politician in Gabon, but according to the <i><b><a href="https://books.google.co.uk/books?id=zbZGDwAAQBAJ&pg=PA426&lpg=PA426&dq=Ang%C3%A8le+Rawiri&source=bl&ots=NAqXOmQF0c&sig=544TNMzYfTgpRGPfh6MXiHajor4&hl=en&sa=X&ved=2ahUKEwjMgLr_0d7fAhUTTBUIHZeGCxo4KBDoATABegQICBAB#v=onepage&q=Ang%C3%A8le%20Rawiri&f=false">Historical Dictionary of Gabon</a></b></i>, Rawiri studied in France at th</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;">e Lyc</span><span style="background-color: white;">é</span><span style="white-space: pre-wrap;">e</span></span><span style="white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> of </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Al</span></span><span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">è</span></span><span style="white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">s</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> and earned a baccalaureate at the girls' college at Vanves. In Paris at the Institut Lentonnet, she obtained a second </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">baccalaureate in the commercial translation of English. Rawiri then spent two years in London to perfect her English, and supported herself by playing small roles in James Bond movies and fashion shoots for magazines. </span><br />
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<span style="white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Rawiri returned to her hometown of Port-Gentil in Gabon in 1979, and worked as a translator and interpreter of English for the state oil company, </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">Société Nationale Pétrolière Gabonaise</span><span style="white-space: pre-wrap;">.</span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> Toman further notes that it was Rawiri's </span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">brother who encouraged her to write her first two novels: </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Elonga</span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><i> </i>and<i> </i></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">G’amerakano</span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">. By </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">the end of 1980s, Rawiri left Gabon definitively and headed for France where she finished and published her third and final novel, </span><span style="vertical-align: baseline; white-space: pre-wrap;"><i>Fureurs et cris de femmes</i>.</span></span><br />
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<span id="docs-internal-guid-f2fede8c-7fff-0115-2763-fa0fa6d61ba8"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">While Rawiri had lived in Gabon, France and the UK, in the same 1988 interview in Amina Magazine, Rawiri, considered herself a ‘<i>deracinee</i>’ (<i>uprooted woman</i>) explaining: </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">‘<i>I never felt at home on African soil and at the same time, I didn’t feel at home in Europe either</i>’. </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Writing might have been a way for </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Rawiri to deal with these sentiments of 'perpetual exile' she felt - using it as '</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>an outlet for exploring aspects fo culture and society that bewildered or enraged her</i>'. </span></span><br />
<span id="docs-internal-guid-f2fede8c-7fff-0115-2763-fa0fa6d61ba8"><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">However, unlike other African women writers I have featured so far in this series, </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;">Rawiri encountered relatively few obstacles if any in becoming Gabon’s first novelist. In the same Amina interview, Rawiri explained:</span></span></span><br />
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<span id="docs-internal-guid-f2fede8c-7fff-0115-2763-fa0fa6d61ba8"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="white-space: pre-wrap;">I must admit that it was rather easy. Friends who were journalists helped me out by putting me in contact with an editor. </span></i></span></span></blockquote>
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<span id="docs-internal-guid-f2fede8c-7fff-0115-2763-fa0fa6d61ba8"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Rawiri's writing led to three published novels - o</span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">ften described as a trilogy (although they do not have much in common) - </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i> Elonga</i>, <i>G’amarakano: Au Carrefour</i>,<i> </i>and <i>Fureurs et cris de femmes </i>(</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>Fury and Cries of Women</i>)</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, which </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">are the '<i>hallmarks of an important decade for Gabonese literature written in French</i>' according to </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Cheryl Toman</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">. </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> </span></span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><br /></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Toman described </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Rawiri's first novel, <i>Elonga</i>, as following a young man of Spanish and Gabonese descent, whose </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Spanish father's dying wish is for his son to leave Spain to reconnect with the country of his already deceased mother’s birth (the fictitious African country of Ntsempolo). Rawiri's second novel, </span><i style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">G’amerakano au carrefour</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, tells the </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;">story of Toula, a dismally paid secretary who succumbs to her mothers badgering and is further convinced by her best friend and colleague, Ekata, that she should dramatically modify her appearance if she ever hopes to find her way out of the poor neighbourhood of Igewa. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;">For Toman, </span></span><i style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">Elonga</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> is 't<i>he least feminist but also the least woman-centred'</i>, and could be the reason </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">why it has received the least amount of critical attention: </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;"><i>... critics simply were at a loss as to how to categorise it since women novelists from Gabon, like other African women writers, do tend to give the spotlight to female protagonists. </i></span></span></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Rawiri's third novel, </span><i style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">Fureurs et cris de femmes </i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">(translated to English by Sara Hanaburg as </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>The Fury and Cries of Women</i></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">)</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> is considered the richest of her fictional prose portraying <b><a href="https://www.upress.virginia.edu/title/4758">o</a></b></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><b><a href="https://www.upress.virginia.edu/title/4758">ne woman's life in Central Africa in the late 1980s</a>. </b>It follows</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> Emilienne, </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>... whose active search for feminism on her own terms is tangled up with cultural expectations and taboos of motherhood, marriage, polygamy, divorce, and passion. She completes her university studies in Paris; marries a man from another ethnic group; becomes a leader in women's liberation; enjoys professional success, even earning more than her husband; and eventually takes a female lover. Yet still she remains unsatisfied. Those closest to her, and even she herself, constantly question her role as woman, wife, mother, and lover. The tragic death of her only child - her daughter Rekia - accentuates Emilienne's anguish, all the more so because of her subsequent barrenness and the pressure that she concede to her husband's taking a second wife. </i></span></blockquote>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">While working on her fourth novel, Rawiri died on November 15, 2010, in Paris. For French speakers, here's a<b><a href="https://www.dailymotion.com/video/xqgap2"> video of an interview with </a></b></span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><b><a href="https://www.dailymotion.com/video/xqgap2">Angèle Rawiri</a></b>.</span></div>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-9164759386551455422019-01-07T19:56:00.000+00:002019-01-08T07:57:25.694+00:00#100AfricanWomenWriters: 17. Alifa Rifaat<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://books.google.co.uk/books?id=5BxI_57l_CkC&printsec=frontcover#v=onepage&q&f=true">Source: Author Photo. Heinemann AWS edition of Distant View of a Minaret.</a></b></td></tr>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>A caption under a picture of Alifa Rifaat in a 1993 Middle East Times (Egypt) captures Rifaat's intentions for writing about women's lives and sexuality: she is inspired, the caption reads, 'by a woman's Islamic right to a fulfilled emotional and sexual life'.</i> - <b><a href="https://journals.lib.unb.ca/index.php/IFR/article/download/14329/15406">Barbara A. Olive on Alifa Rifaat's Short Stories</a></b>.</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Alifa Rifaat (the pseudonym of Fatimah Rifaat, who was born in Egypt in 1930 and died in 1996) began to write early - </span><span style="background-color: white; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><a href="http://www.alraidajournal.com/index.php/ALRJ/article/view/1334/1326">when she was nine she wrote her first story, about the village where her family lived in the summer</a> </b></span><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">- with</span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"> rural Egypt becoming the setting for most of her stories. Unfortunately, writing for Rifaat came with its (external) challenges. Starting </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">e</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">arly in her life when <b><a href="https://journals.lib.unb.ca/index.php/IFR/article/download/14329/15406">Rifaat was strongly reprimanded by her older sister for writing</a></b>. </span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">Rifaat attended Misr al-Jadidah primary school, the Cultural Centre for Women, and <b><a href="http://www.eluprogram.com/another_evening_at_the_club.pdf">the British Institute in Cairo from 1946 to 1949</a> </b>- where she studied English. When <b><a href="http://dangerouswomenproject.org/2016/04/30/alifa-rifaat/">Alifa Rifaat expressed interest in continuing her education by enrolling in the College of Fine Arts in Egypt</a></b> her father first <b><a href="http://www.eluprogram.com/another_evening_at_the_club.pdf">arranged a marriage for her to </a></b></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><b><a href="http://www.eluprogram.com/another_evening_at_the_club.pdf">a mining engineer</a></b> - this marriage lasted eight months, and then </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">arranged for her to marry her cousin, a police officer. </span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">For the first few years of their marriage </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">Rifaat’s husband let her </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">write and publish stories under her pseudonym. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">She published her stories from 1955 until 1960, but</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"> later her husband </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><b><a href="http://dangerouswomenproject.org/2016/04/30/alifa-rifaat/">denied her the right to publish her stories</a></b></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">. This period of denying Rifaat the ability to right happened for more than a decade, with her husband even</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> <b><a href="https://journals.lib.unb.ca/index.php/IFR/article/download/14329/15406">forcing her to swear on the Qu'ran that she would stop writing</a></b>. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">As noted in </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="http://www.alraidajournal.com/index.php/ALRJ/article/view/1334/1326">a 1985 <i>The Middle East </i>journal,</a></b><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> </span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><i>Her husband was furious, not so much because of the subject matter, but because writing gave her a kind of independence and was perceived as undermining his authority as a husband and head of the family. She continued to write, using pen-names, but when he found out, her husband forbade that too. He threw her out of the house. She went back to her own family, but received no sympathy from her father, who also said she should stop writing.</i></span></blockquote>
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<i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">But against those people who urged her to get a divorce, Alifa Rifaat argued that "it is better to be an unknown wife than a well-known writer". For the next 15 years she wrote a little, and then only in secret. But being forced to repress the urge to be read brought her close to a nervous breakdown, a state vividly evoked in some of her stories. </i></blockquote>
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<i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Finally, in the early 1970's, her husband relented and she began to write again. The result was her collection of short stories, 'Distant View from a Minaret', which dwell on the tensions, dilemmas and dreams of women in marriage. </i></blockquote>
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<span style="background-color: white; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify; vertical-align: baseline;"><a href="file:///Users/zna/Downloads/alraida-32.pdf">Profile of Alifa Rifaat</a></span></span></div>
<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline;"><br /></span></span>
<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline;"><b style="background-color: transparent; text-align: left;"><a href="http://www.eluprogram.com/another_evening_at_the_club.pdf">Rifaat continued to publish short stories through the 1980s following the death of her husband</a> </b><span style="text-align: left;">- she</span></span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; text-align: justify; white-space: pre-wrap;"> was widowed at the age of 48 and raised three children on her own. H</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline;">er best-known work in English is </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline;">Distant View of a Minaret</span> (1983), consisting of fifteen short stories which are set in provincial Egypt. One of the stories, </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>My World of the Unknown</i>, follows the female narrator's sexual encounter with a djinn. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">As expressed in the 1985 article in <i><b><a href="http://www.alraidajournal.com/index.php/ALRJ/article/view/1334/1326">The Middle East Journal</a></b></i>, </span></span></div>
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<i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">While much of Rifaat's later writing is deeply rooted in her experience, the most important theme in her stories centres on the sexual and emotional problems encountered by women in marriage. </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">... in the years she spent travelling around Egypt with her husband (in the course of his work as a policeman) she met many other women and learned of their problems. "We used to talk freely and we discussed especially the question of sexual fulfilment - because our society does not allow us to experience sex as freely as a Western woman does", she told Sarah Graham.</span></i></blockquote>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>Rifaat, however, is not a feminist in the Western-sense. 'Women', she says, 'have a right to be fulfilled in their sexual and emotional lives', though she does not question marital relationships as such. What she does argue is that men should wield the power they have over women in marriage much more responsibly than they usually do. She also argues for more sexual education for women, 'if only through books'</i>. </span></blockquote>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><b><a href="https://journals.lib.unb.ca/index.php/IFR/article/download/14329/15406">As Barbara A. Olive further comments</a></b>, </span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>Rifaat's fiction has met with a range of responses, from conservative efforts to keep her fiction out of bookstores, to encouragements from her literary acquaintances to write even more boldly about the lives of women.</i></span></blockquote>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><span style="text-align: justify;">Alifa Rifaat spoke and wrote only in Arabic - about stories that were</span> <b><a href="http://dangerouswomenproject.org/2016/04/30/alifa-rifaat/">deeply rooted in the Arabic and Islamic traditions</a></b></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, and also dealt with themes of </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">eroticism and sexuality, which is said to have </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">distinguished her from other male and female writers in the Arab world, where explicit references to these topics are typically considered taboo.</span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <b><a href="https://journals.lib.unb.ca/index.php/IFR/article/download/14329/15406">Olive further notes that </a></b></span></span><span style="background-color: white; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://journals.lib.unb.ca/index.php/IFR/article/download/14329/15406" style="font-weight: bold;">Rifaat's fiction has not gained wider recognition</a>, and offers the following reasons: </span></span><br />
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="white-space: pre-wrap;">Although she is self-educated, having read methodically through a number of small libraries during the years of her exile from writing, Rifaat does not possess a university degree and thus does not have direct connections to academic literary groups. With the exception of two pilgrimages to Mecca and one visit to Europe, she has traveled little, remaining a quiet secret for most readers outside of Egypt. Finally, Rifaat's professed devotion to Islam has allowed for easy categorisation of her fiction as limited, with critics often interpreting her female protagonists as weak or submissive.</span></i> </span></span></blockquote>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; text-align: justify; white-space: pre-wrap;">Alifa Rifaat </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><a href="https://en.wikipedia.org/wiki/Alifa_Rifaat" style="font-weight: bold;">became a member of the Federation of Egyptian Writers, the Short-Story Club, and the Dar al-Udaba (Egypt)</a>, and also attended</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> the First International Women's Book Fair (London, England) in 1984 where she spoke about the rights of women in Islam and the topic of polygamy. In 1984 Fatimah Rifaat also received the Excellency Award from the Modern Literature Assembly. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Alifa Rifaat produced over 100 bodies of works in her lifetime that have been translated into multiple languages and have been produced for television and </span><b style="background-color: white; font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><a href="https://www.bbc.co.uk/programmes/p03m0nz8">read on BBC</a></b><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">. </span></div>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-53112025378135289002019-01-03T13:20:00.000+00:002019-01-03T13:45:20.508+00:00#100AfricanWomenWriters: 16. Mariama Bâ <div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1YNIxYIAzY_mZHV-60tz8dNed5nWUAYH-YLY635r9mTeP3eTcrivcGegdZBoB7BQ_79IS4M6wZr9Pu-SUoYUWItgT1ZoFNQ9Wm7fEmNIB-UFphbA8_hPnGQInKRV6MxHkB6Dj6kBAaOkd/s1600/Mariama+Ba.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="965" data-original-width="650" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1YNIxYIAzY_mZHV-60tz8dNed5nWUAYH-YLY635r9mTeP3eTcrivcGegdZBoB7BQ_79IS4M6wZr9Pu-SUoYUWItgT1ZoFNQ9Wm7fEmNIB-UFphbA8_hPnGQInKRV6MxHkB6Dj6kBAaOkd/s640/Mariama+Ba.jpg" width="430" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://en.unesco.org/womeninafrica/mariama-ba-0/biography">Mariama Ba around 25. Source: UNESCO</a></b></td></tr>
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<i><span style="white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Y</span></span><span style="white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">es, this is the first time that I wrote a serious novel. I have written before when I was a schoolgirl. I wrote essays for homework which were published. I wrote a dissertation which was published by the ‘Review Espirit’ a long time ago. I have written articles for newspapers, lots of them, but this book is my first serious effort to see the light. This is my first book.</span></span></i></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">So, said Senegalese writer Mariama </span><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Bâ</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> in </span><span style="background-color: transparent; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><a href="http://www.icwa.org/wp-content/uploads/2015/09/BHB-17.pdf">a 1981 interview with Barbara E. Harrell-Bond</a></b></span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. The year before this interview, 1980, Mariama </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Bâ</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> was awarded the first Noma Award - an annual prize of $3000 endowed by Japanese publisher Shiochi Noma to African writers published within Africa. The award was presented at the Frankfurt Book Fair, which in 1980 had a Black Africa theme. </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMLTZvF803smHswDHvcxRgUa2WM0nXaf_pynlzUF5oHeCPYdfnapstNOxdOKn8yUB6I8xaeapMKCDUTdk2FZkgBbzLItjeE_yr7ju2DGx67EcaJ7wL3kilSrgx3kmoJ7JNZ2o5vY8VtK2u/s1600/Screenshot+2018-12-25+at+12.41.27.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="820" data-original-width="888" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMLTZvF803smHswDHvcxRgUa2WM0nXaf_pynlzUF5oHeCPYdfnapstNOxdOKn8yUB6I8xaeapMKCDUTdk2FZkgBbzLItjeE_yr7ju2DGx67EcaJ7wL3kilSrgx3kmoJ7JNZ2o5vY8VtK2u/s1600/Screenshot+2018-12-25+at+12.41.27.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><a href="http://www.icwa.org/wp-content/uploads/2015/09/BHB-17.pdf">Mariama Ba being awarded the Noma Prize in 1980. Source: AUFS Report, 1981.</a></b></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This was for </span><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Bâ’s</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> first novel, </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Une si longue lettre </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(</span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">So Long a Letter</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">) - one of the most widely read works of Francophone African literature. Published in 1979, </span><span style="background-color: transparent; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><a href="http://researchscholar.co.in/downloads/75-dr.-jayant-s.-cherekar.pdf">it follows </a></b></span></span><b><a href="https://www.jstor.org/stable/4066403?seq=1#page_scan_tab_contents"><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">a Muslim, French-educated, middle-aged Senegalese school teacher, Ramatoulaye, during her </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">iddat</span></a></b><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><b><a href="http://researchscholar.co.in/downloads/75-dr.-jayant-s.-cherekar.pdf">, the mourning period of four months and 10 days prescribed for Muslim widows</a></b>. In this long ‘letter’ written to her best friend Aissatou, Ramatoulaye looks back on her life with Modou Fall, her husband of 30 years, providing readers with a specific insight into her own experiences as well as those of other women. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">In her </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="http://www.icwa.org/wp-content/uploads/2015/09/BHB-17.pdf">acceptance speech for the Noma</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, Bâ remarked that she was surprised at winning: </span></div>
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<span style="background-color: transparent; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>I was very surprised. Even more so because I did not know of the existence of the prize. And even more, I did not even know that my book was being considered for any prize … A friend came to my house to tell me I had won. I was unaware of it. I didn’t even realise that there was prize money … I was even more proud and happy because it was not only a prize for Francophone Africa, but a prize for black Africa. That is, all of French- and English-speaking Africa. There were many candidates, so it was a prize which obviously was important. </i></span></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Bâ died a year after she received the Noma award after a long battle with cancer, and </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">before her second novel, </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">U</span><span style="white-space: pre-wrap;">n Chant </span><span style="white-space: pre-wrap;">É</span><span style="white-space: pre-wrap;">carlate</span></i></span><span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;"> (</span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Scarlet Song</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">)</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, was published. </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Bâ</span><span style="background-color: transparent; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> briefly spoke about her second novel during her 1981 interview, when asked if she was ‘<i>working on another book</i>’, and <b><a href="http://sister-hood.com/sister-hood-staff/mariama-ba-1929-1981/">worked on the revisions in order to prepare it for publication after her death</a></b>: </span></div>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Yes, and it is finished. I do not know if it is going to receive the same reception as 'Une si longue lettre'. As a matter of fact, it is the reception of 'Une si longue lettre' which makes me more and more hesitant to deliver this work to publishers. This first reception was so good, the book has been so well liked, that I wonder what kind of reception will be given to this other book. </i></span></span></blockquote>
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<span style="background-color: transparent; font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Scarlet Song, </span><span style="background-color: transparent; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">published posthumously in 1986, also received international attention. The book deals with an interracial relationship in Senegal and the struggle of women to overcome the traditional system of polygamy and gender discrimination. On the book, Bâ goes on to explain: </span></div>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>I have taken the white wife and the African husband as the theme. Here, if a black woman married to a white man, we can easily accept that, at least <u>more</u> easily accept it … The colonialists took black women as wives and it never was a tragedy, you see … Because here in Senegal, it is the woman who is given into marriage, and belongs to the husband’s family. It is not the same thing with a man. The man bears the family name. He is the root of the tree which flourishes to give fruit. The fruits contain the seed which will make the race live again and nourish the ground. Thus the problem of a white wife is more interesting from the point of view of the mentality of the man’s mother, and from the point of view of society. There are more possible situations. So my book is about a white wife and a black husband. </i></span></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">The book was also set in Senegal and not France because ‘<i>otherwise it would not be interesting’</i>. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>If they were in France there would not be any problem. If the book was set in France, in Europe, anywhere else, there would not be a problem. They could isolate themselves from the parents and the others. It would not be the same thing.</i></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Writer and teacher, Mariama Bâ was one of the pioneers of Senegalese literature. Born in Dakar, Senegal in 1929 to a Muslim Lebou family, her father, was a civil servant, '</span><span style="background-color: white; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i><b><a href="http://www.icwa.org/wp-content/uploads/2015/09/BHB-17.pdf">a teller in the Treasury of French </a></b></i></span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i><b><a href="http://www.icwa.org/wp-content/uploads/2015/09/BHB-17.pdf">West Africa</a></b></i>.' </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">He was also a politician and was the first Minister of Health after the decentralisation bill was passed in 1956. Her paternal grandfather '</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>Sarakhole (from Bakel) ... was an interpreter in Saint-Louis, then in Dakar where he died.</i>'</span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Bâ</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> lost her mother when she was very young - '</span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i><b><a href="http://www.icwa.org/wp-content/uploads/2015/09/BHB-17.pdf">I only know her through photographs</a></b></i>,' she remarked in a 1981 interview</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, and was raised a Muslim in the traditional manner by her maternal grandparents on </span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b><a href="http://sister-hood.com/sister-hood-staff/mariama-ba-1929-1981/">an extended family compound close to a mosque</a></b></span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">She received her early education in French, while at the same time attending Koranic school with Dakar’s leading clerics</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">. Bâ’s grandparents did not plan to educate her beyond primary school - </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><b><a href="http://www.thepatrioticvanguard.com/profile-senegalese-writer-mariama-ba">they did not believe that girls should be taught beyond that.</a></b></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">However, her </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="http://sister-hood.com/sister-hood-staff/mariama-ba-1929-1981/">father’s insistence on giving her an opportunity to continue her studies</a></b><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> eventually persuaded them, and she attended French school.</span></div>
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<span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;"><i>I had the good fortune to attend the French school (which is now Berthe Maubert School on Avenue Albert Sarraut) thanks to the perseverance of my father who, whenever he had a holiday, would come to beg my grandparents to continue to grant him this favour. </i></span></span></span></blockquote>
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<i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">During school holidays I continued my Koranic studies at the residence of the late Amadou Lamine Diene … He had become the Imam of the main mosque in Dakar, and his nephew, the current Imam, El Hadji Mawdo Sylla, was my teacher. The fact that I went to school didn’t relieve me from the domestic duties little girls had to do. I had my turn at cooking and washing up. I learned to do my own laundry and to wield the pestle because, it was feared, 'you never know what the future might bring!’</i></blockquote>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Bâ</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> eventually o</span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">btained her school-leaving certificate, and won admission to the École Normale, </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">a teacher training college</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> for girls in Rufisque </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">(a suburb in Dakar):</span></div>
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<span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>A year after the Primary School Certificate Examination in 1943, I had the joy of coming first in French West Africa at the competitive examination for entry to the </i></span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>É</i></span><i style="background-color: white; font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">cole Normake in Rufique. My father was away in Niamey and Mrs. Berthe Maubert (primary school teacher) had the lonely task of overcoming the resistance of my family who had had enough of “all this coming and going on the road to nowhere.”</i></blockquote>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Her earliest works were essays she wrote (on nationalism) while at the École Normale. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Some of her works have now been published. <b><a href="http://www.thepatrioticvanguard.com/profile-senegalese-writer-mariama-ba">Her first work constitutes essentially a useful method of rejection of the "so-called French assimilationist policy"</a></b>. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">École Normale is also where </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Bâ met </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Mrs. Germaine Le Goff who “t<i>aught me about myself” - “taught me to know myself</i>. <i>I cherish the memory of rich communions with her, which have made me a better person</i>." </span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>A man of finance, but also a man of letters, my father taught me to read. A flood of books accompanied his homecomings. It is from him that I learned how to express myself orally. He would have me recite in French what I had learned, and never tired of correcting me. </i></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Bâ g</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">raduated as a schoolteacher in 1947, and taught</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> from 1947 to 1959, before transferring to the </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Senegalese Regional Inspectorate of Teaching</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> as an educational inspector due to her failing health. </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">However, her teaching had been so exceptional that in 1977 <b><a href="https://www.sahistory.org.za/archive/biography-mariama-ba-lauren-daugherty">President Leopold Senghor founded </a></b></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><b><a href="https://www.sahistory.org.za/archive/biography-mariama-ba-lauren-daugherty"> the Mariama Bâ Boarding School to honour her legacy as an educato</a></b>r. </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;">Bâ later married a Senegalese journalist and member of Parliament, Obèye Diop, but divorced him and was left to care for their nine children on her own. </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">By the late 1970s, after most of her children were adult, Ba became a vocal activist for women's rights</span></span><span style="background-color: transparent; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"> and <b><a href="http://www.thepatrioticvanguard.com/profile-senegalese-writer-mariama-ba">a critic of the neocolonial system </a></b></span><span style="background-color: transparent; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><b><a href="http://www.thepatrioticvanguard.com/profile-senegalese-writer-mariama-ba">that had evolved in most of the newly independent African nations</a></b>. </span></div>
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<span style="background-color: white; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In addition to <i>So Long a Letter </i>and <i>Scarlet Song, </i></span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Bâ also wrote </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-style: italic; white-space: pre-wrap;">La Fonction politique des littératures Africaines écrites</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> (<i>The Political Function of African Written Literatures</i>) in 1981, arguing </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">that Africans should embrace and feel pride in their culture and achievements. </span><span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify; white-space: pre-wrap;">While Bâ’s activism was most prevalent in her literature, particularly with her focus on women’s experiences in a traditional Muslim and patriarchal society, Bâ also worked as a journalist where she wrote about women’s issues and participated in women’s organisations. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify; white-space: pre-wrap;">Bâ was also known to be active in women’s associations and a defender of women’s rights. </span><b style="font-family: Arial, Helvetica, sans-serif; text-align: justify; white-space: pre-wrap;"><a href="https://www.sahistory.org.za/archive/biography-mariama-ba-lauren-daugherty">She emphasised women’s right to education, recognised the importance of women’s education, and fought for it – among other rights – through speeches and articles published in local newspapers.</a> </b><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">However, similar to African women writers of her generation, such as Flora Nwapa and Buchi Emecheta (women who I will also feature in this series),<b><a href="https://www.sahistory.org.za/archive/biography-mariama-ba-lauren-daugherty"> Bâ refused the label of feminism so as to reject notions widely associated with white feminism, such as the belief that women were better or more important than men. Thus, the label feminism with its negative connotations was rejected.</a></b></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I end with <span style="text-align: justify;">Bâ </span>’s last words during her 1981 interview on </span><span style="background-color: white; color: black; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><a href="http://www.icwa.org/wp-content/uploads/2015/09/BHB-17.pdf">her thoughts on the Noma prize</a></b></span><span style="background-color: white; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">:</span></span></div>
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<span style="background-color: white; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Really, in some ways one can say that the Noma prize has rekindled the fire of hope … This Japanese publisher thinks of promoting African books, to give something so that African literature goes forward. That is the meaning of this gesture for me. The existence of all such prizes is always an encouragement. That is what it really shows. As I was saying earlier, books are an instrument for development and books must not die. We must encourage people to write, to allow the great flourishing of writing. </i></span></span></blockquote>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-80461003892215193472019-01-02T09:37:00.000+00:002019-01-02T09:51:00.834+00:00#100AfricanWomenWriters: 15. Alda Lara<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://alchetron.com/Alda-Lara">Alda Lara. Source: Alchetron</a></b></td></tr>
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<i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Women authors do not exist in Angola. That, at least, is the conclusion you would reach after reading the most seminal anthologies of Angolan writers. For example, no woman appears in Pires Laranjeira’s collection of pre-independence Angolan poetry, '</span><span style="background-color: white; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Antologia da Poesia Pré-Angolana (1948-1974)'</span><span style="background-color: white; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (Porto: Afrontamento, 1976). Of the fifteen poets from Angola included in Manuel Ferreira’s </span><span style="background-color: white; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">50 'Poetas Africanos'</span><span style="background-color: white; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (Lisboa: Plátano, 1989), not one is a woman. In '</span><span style="background-color: white; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Balada dos Homens que Sonham'</span><span style="background-color: white; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (Luanda: UAE, 2011), an anthology published by the Angolan Writers Union, all the authors are men.</span></span></i></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The above is from </span><span style="background-color: white; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><a href="https://www.mod-langs.ox.ac.uk/oxford-polyglot/2017-18/1/reclaiming-heritage-angolan-women-writers">Professor Phillip Rothwell at the University of Oxford</a></b></span><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> on research which seeks to address this lack of Angolan women writers by '</span><span style="background-color: white; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>drawing attention to and analysing the writings of Angolan women, from the 1940s to the present day</i></span><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">'.</span></span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Born in 1930 in Benguela, Angola, poet, essayist, doctor and political activist Alda Ferreira Pires Bareto de Lara Albuquerque (Alda Lara)</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> may have lived a very short life - she passed away at the age of 32 - but was a prolific writer. </span><b style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><a href="https://www.mod-langs.ox.ac.uk/oxford-polyglot/2017-18/1/reclaiming-heritage-angolan-women-writers">As Rothwell explains</a></b><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, she</span><br />
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">... <i>wrote extensively about freedom and justice, as well as the place of motherhood in a more equitable society. Her work demonstrates a tension between the demands of being a mother and national liberation — a tension the male elites of Angola would later exploit to downgrade the position of women as political agents in their own right</i>. </span></blockquote>
<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">Her writings, as further discussed in <b><a href="https://books.google.co.uk/books?id=39JMAgAAQBAJ&pg=RA2-PA470&lpg=RA2-PA470&dq=The+Alda+Lara+Prize&source=bl&ots=1A9n6qvvRq&sig=XRhXYkkNQ3bm66i9YLhkQNe4M94&hl=en&sa=X&ved=2ahUKEwiig-DK3LvfAhUQ-6QKHaOPAoAQ6AEwDXoECAgQAQ#v=onepage&q=Alda%20Lara%20&f=false">Dictionary of African Biography</a></b> took on </span><br />
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<i style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><span style="background-color: white;">... t</span>he spirit of the historical moment she lived and assumed multiple meanings</i><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> [addressing] </span><i style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">childhood, her national and racial identity, life as an Angolan exile in Portugal, her desires as a woman, mother and citizen, daily life struggles under colonialism, emotional ambitions, an life's joys and pleasures</i><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">.</span></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; white-space: pre-wrap;">Lara </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><b><a href="https://en.wikipedia.org/wiki/Alda_Lara">attended a women's school in Sá da Bandeira (now Lubango)</a></b><i> </i>before </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">moving to Portugal at the age of seventeen to finish secondary school, and studied medicine at a university in Lisbon and the University of Coimbra. </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; white-space: pre-wrap;">In Portugal, Lara had ties to the </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Casa dos Estudantes do Imperio (CIE) (House of the Students of the Empire) - a political organisation composed of university students from the African Portuguese colonies (specifically Angola, Cape Verde, Sao Tome and Principe, Mozambique and Guinea-Bissau).</span><br />
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">According to <b><a href="https://en.wikipedia.org/wiki/Alda_Lara">a Wikipedia entry</a></b>, Lara: </span><br />
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><i>... had an active student life and began her writing career by publishing poetry in the literary journal '</i></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Mensagem'</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">, a publication specifically for Africans </span><i><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">...</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"> and also </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">wrote for several newspapers and magazines such as the '</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">Jornal de Benguela'</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">, the '</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">Jornal de Angola'</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">, and the '</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">ABC e Ciência'</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">.</span></i></blockquote>
<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">Writers publishing in </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Mensagem </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">(</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">the journal published by the students at CEI between 1948 and 1964) </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">represented </span><b style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><a href="https://books.google.co.uk/books?id=39JMAgAAQBAJ&pg=RA2-PA470&lpg=RA2-PA470&dq=The+Alda+Lara+Prize&source=bl&ots=1A9n6qvvRq&sig=XRhXYkkNQ3bm66i9YLhkQNe4M94&hl=en&sa=X&ved=2ahUKEwiig-DK3LvfAhUQ-6QKHaOPAoAQ6AEwDXoECAgQAQ#v=onepage&q=Alda%20Lara%20&f=true">a new generation of African intellectuals who provided the foundation from which a modern Angolan literature emerged and organised a space for intellectuals to join and participate in Angola's independence movements</a></b><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Heavy censorship, however, ensured there were only four publications of </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-style: italic; white-space: pre-wrap;">Mensagem</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">. Still, m</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">any of the poems in <i>Mensagem</i> engage explicitly with the theme of presence. This is expressed, for example, in Alda Lara’s 1962 poem </span><i style="background-color: white; font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Presença</i><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, which used the metaphor Mae Africa (Mother of Africa) <b><a href="https://books.google.co.uk/books?id=39JMAgAAQBAJ&pg=RA2-PA470&lpg=RA2-PA470&dq=The+Alda+Lara+Prize&source=bl&ots=1A9n6qvvRq&sig=XRhXYkkNQ3bm66i9YLhkQNe4M94&hl=en&sa=X&ved=2ahUKEwiig-DK3LvfAhUQ-6QKHaOPAoAQ6AEwDXoECAgQAQ#v=onepage&q=Alda%20Lara%20&f=true">to reaffirm her identity as African and her connections to black populations as well as to her strength and resilience as a woman</a></b>. </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbUGW37EtxdcOAq95Q-GajdCn8Pp__lXLZ0vR_49zCeyZU0JzCqIrwv1DiuA3VC_JLdt6FzO_K9Zf_K6LoFSvzJPQk3g0he8q7sFpKcfqYCnoWxRdwUNmDo4FFgYQxwm5UuG1uTzjzw0wt/s1600/Screenshot+2018-12-25+at+19.14.22.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1032" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbUGW37EtxdcOAq95Q-GajdCn8Pp__lXLZ0vR_49zCeyZU0JzCqIrwv1DiuA3VC_JLdt6FzO_K9Zf_K6LoFSvzJPQk3g0he8q7sFpKcfqYCnoWxRdwUNmDo4FFgYQxwm5UuG1uTzjzw0wt/s1600/Screenshot+2018-12-25+at+19.14.22.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://lyricstranslate.com/en/presen%C3%A7a-africana-african-presence.html">Excerpt in Portuguese, with English translation.</a></b></td></tr>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><br />Lara married Mozambican-Portuguese doctor and writer Orlando de Albuquerque, and was the mother of four sons - some of who would become political activists in Angola's independence struggles. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHgcz1a8TQzjhaxdkqlpMCw7DazdeLKsXbCO7v09LXeCmxkkebYWdWUSONeaMy0Z0TP-EY8S532FuTcKawrseCO5KdQpRYuteR4e2J1HekghhR74Lv2SEfyRvwIhDwlkW4N_5MO7hCK_LA/s1600/Alda+Lara+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="720" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHgcz1a8TQzjhaxdkqlpMCw7DazdeLKsXbCO7v09LXeCmxkkebYWdWUSONeaMy0Z0TP-EY8S532FuTcKawrseCO5KdQpRYuteR4e2J1HekghhR74Lv2SEfyRvwIhDwlkW4N_5MO7hCK_LA/s1600/Alda+Lara+1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://www.mod-langs.ox.ac.uk/oxford-polyglot/2017-18/1/reclaiming-heritage-angolan-women-writers">Alda Lara with her husband and children. Source: Oxford University</a></b></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">After living in Portugal for 13 years, in 1961 Lara moved back to Mozambique, <b><a href="https://books.google.co.uk/books?id=39JMAgAAQBAJ&pg=RA2-PA470&lpg=RA2-PA470&dq=The+Alda+Lara+Prize&source=bl&ots=1A9n6qvvRq&sig=XRhXYkkNQ3bm66i9YLhkQNe4M94&hl=en&sa=X&ved=2ahUKEwiig-DK3LvfAhUQ-6QKHaOPAoAQ6AEwDXoECAgQAQ#v=onepage&q=Alda%20Lara%20&f=true">with the aim of providing medical care for her children</a></b>, but died the year after (in 1962 from unknown medical complications). </span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">Her husband set about publishing her collected works posthumously, including </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Poemas</span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"> in 1966 and </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Tempo da Chuva</span><span style="font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"> in 1973. Some of her poems published before her death where in the following books: <i>Antologia de Poesias Angolanas </i>(1958), <i>A Mostrsa de Poesia in Estudos Ultramarinos </i>(1959), <i>Anthologia da Terra Portuguesa </i>(1960/61).</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Fcs1HrbG2wsuPAnyzE52f8BlrO9bOsPQfujQy25WEZADeGE8FDu-huozCFMNfmMLq07tmrZ0h1SPbcNf1qMmCdkoW0dVpZHQIu_nDoEZ1b4ZsQ0wkvXaRTsnSajgRncn_Az0lZmB5O1Z/s1600/Poemas2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="349" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Fcs1HrbG2wsuPAnyzE52f8BlrO9bOsPQfujQy25WEZADeGE8FDu-huozCFMNfmMLq07tmrZ0h1SPbcNf1qMmCdkoW0dVpZHQIu_nDoEZ1b4ZsQ0wkvXaRTsnSajgRncn_Az0lZmB5O1Z/s1600/Poemas2.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><a href="http://tempocaminhado.blogspot.com/2013/02/dois-poemas-de-alda-lara.html">Source: Tempo Caminhado</a></b></td></tr>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">According to the <b><a href="https://books.google.co.uk/books?id=39JMAgAAQBAJ&pg=RA2-PA470&lpg=RA2-PA470&dq=The+Alda+Lara+Prize&source=bl&ots=1A9n6qvvRq&sig=XRhXYkkNQ3bm66i9YLhkQNe4M94&hl=en&sa=X&ved=2ahUKEwiig-DK3LvfAhUQ-6QKHaOPAoAQ6AEwDXoECAgQAQ#v=onepage&q=Alda%20Lara%20&f=false">Dictionary of African Biography</a></b>, </span></span><br />
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Critics often exclude Lara's work from the category of 'revolutionary political-resistance poetry' used to describe the works of her male Angolan counterparts ... Lara was not a known member of a national liberation movement in Portugal or Angola. Furthermore, limited gender roles and racial categories, along with the themes of her poetry, precluded her inclusion in these 'revolutionary' types of poetry. However, her works were indeed political and exuded an acute social consciousness.</i></span></span></blockquote>
<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Lara wrote at a time when white, mixed-race and black Angolan authors were '<i>deploying their writings as part of an intellectual endeavour of both political resistance and nation-building</i>', with her '<i>poetry's political dimensions</i>' being shaped by '<i>her multi-national heritage, her marriage and her involvement in CEI</i>'. Also, </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Policia Internacional de Defesa do Estado (PIDE) - the secret security arm of the colonial Portuguese government - maintained a file on her and her husband. </span><br />
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The </span></span><b style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><a href="https://books.google.co.uk/books?id=39JMAgAAQBAJ&pg=RA2-PA470&lpg=RA2-PA470&dq=The+Alda+Lara+Prize&source=bl&ots=1A9n6qvvRq&sig=XRhXYkkNQ3bm66i9YLhkQNe4M94&hl=en&sa=X&ved=2ahUKEwiig-DK3LvfAhUQ-6QKHaOPAoAQ6AEwDXoECAgQAQ#v=onepage&q=Alda%20Lara%20&f=false">Dictionary of African Biography</a> </b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">further </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">notes that </span><br />
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The early death of Lara, just as liberation movements in Portuguese Africa were gaining momentum, makes it impossible to measure the influence of her work on other liberation writers and its impact on involved populations. Her death in 1962 is also why there is so little known about her and why scholarship only mentions her in passing.</i></span></span></blockquote>
<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Yet, Lara's legacy is still present today. The government of the municipality of </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">Sá da Bandeira<i> </i>set up a poetry prize - <i>A</i></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">lda Lara Prize for Poetry (</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Prémio Alda Lara para Poesia</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">) in her honour. Lara's poetry can also be found in the works of Portuguese singers, including </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Paulo de Carvalho, who recorded <i><b><a href="https://www.youtube.com/watch?v=y9G34NRgnxQ">Preludio/Mãe Negra</a></b></i> </span><span style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">(</span><i style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">Prelude/Black Mother??) </i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">- a poem written by Alda Lara. There's also </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Aline Frazão, whose second album, <i><b><a href="https://open.spotify.com/album/4VdPuWxIMF0tOlBP1BjdLX?si=M8LipUIwQ3eFRjbxXwkuIw">Movimento</a></b></i>, released in 2013 <b><a href="http://www.pontadosol.com/lconcerts/aline-frazao-18-de-outubro-2014/">includes a poem by Alda Lara set to music</a></b>. </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">More of Alda Lara's poems in Portuguese can be </span><b style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><a href="http://www.antoniomiranda.com.br/poesia_africana/angola/alda_lara.html">found here</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">. </span><br />
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<tr><td class="tr-caption" style="text-align: center;">Movimento Album Cover</td></tr>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-63076908010711467392018-12-22T19:32:00.002+00:002018-12-22T19:39:41.001+00:00This is Seven <div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://www.instagram.com/illustration315/">Illustration by illustration315</a></b></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Seven years ago, in the living room of my family home in Lagos I typed what would be the beginning of an incredible journey - the start of this blog, bookshy. Seven years later, and I am still as much in love with this blog (and blogging) as I was that afternoon in Ikeja. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg34l3UDmXGeqT511hEOM2KOLl3JSqigtTmJR_JfUMwW3cZu9nYo4EtO9FSWUdBiF_fh3xW5JjN0JIhT5hYElmHlIfjHIs8YriUS6YQmSm88inv8TFQafgU-RHTEf8F8Wxdb-60xjpqDA5I/s1600/Screenshot+2018-12-22+at+17.10.13.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="349" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg34l3UDmXGeqT511hEOM2KOLl3JSqigtTmJR_JfUMwW3cZu9nYo4EtO9FSWUdBiF_fh3xW5JjN0JIhT5hYElmHlIfjHIs8YriUS6YQmSm88inv8TFQafgU-RHTEf8F8Wxdb-60xjpqDA5I/s1600/Screenshot+2018-12-22+at+17.10.13.png" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I will be honest, though, I have gone through phases - particularly in the last couple of years - of wanting to quit bookshy, especially those periods when I have been extremely busy with work and have not really been able to blog. Those feelings are usually temporary. The second I get to the blogger 'draft a post' page and start typing, or get an idea for a blog post - the feeling I had when I first started this blog (the joy of learning about African literature) comes flooding back. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Since I started this blog, I would like to think I've grown with my blog, or my blog has grown with me - or maybe we grew together. Who knows! All I know is t</span><span style="font-family: "arial" , "helvetica" , sans-serif;">hese last seven years have been wonderful - and beyond my imagination. From getting to <b><a href="http://www.bookshybooks.com/p/away.html">write about African literature in various publications</a></b>, including Bakwa Mag on <b><a href="https://bakwamagazine.com/2015/04/06/nameless-narrators-in-african-fiction/">Nameless Narrators in African Fiction</a> </b>and New African Magazine on <b><a href="https://newafricanmagazine.com/regions/continental/africa-writes-back-10-books-look/">African Books to Look Out For (in 2016)</a></b>; to <b><a href="http://www.bookshybooks.com/p/meet.html">interviewing</a></b> and being in conversation with over 40 writers - <b><a href="https://africanarguments.org/2016/06/24/nawal-el-saadawi-all-people-are-mixed-blood-more-mixed-better/">Nawal El-Saadawi (for African Arguments)</a></b>, <b><a href="http://www.bookshybooks.com/2014/11/my-conversation-with-okey-ndibe.html">Okey Ndibe</a></b>, Irenosen Okojie, Ayobami Adebayo, Emmanuel Iduma, the 2018 Caine Prize shortlisted writers, Chinelo Okparanta, Leye Adenle, Nikhil Singh, Dzekashu Macviban and more - to being invited to participate in literary festivals - Ake Festival, Writivism, Africa Writes. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I have also had the pleasure of collaborating with some amazing people and platforms in the African Literary Sphere, including <a href="http://afrikult.com/" style="font-weight: bold;">Afrikult.</a> and <b><a href="https://africainwords.com/">Africa in Words</a></b>; and interacted with amazing African Lit Bloggers (<b><a href="https://kinnareads.com/">Kinna Reads</a></b>, <b><a href="http://www.jamesmurua.com/">James Murua</a></b>, <b><a href="https://africanbookaddict.com/">African Book Addict</a></b>, <a href="https://brittlepaper.com/" style="font-weight: bold;">Brittle Paper</a>) publishers and writers. Since I started blogging, Instagram has become a great platform for the book community, and can I just say the bookstagram community is so awesome. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This blog even led to new journeys - a podcast. Something I never ever imagined I would do. Yet, with two other African women (@postcolonialchild and @booksandrhymes), in April of this year we embarked on <b><a href="https://twitter.com/nabookpodcast?lang=en">Not Another Book Podcast</a></b>. I also started working with some amazing women on <b><a href="http://www.rewritelondon.com/">REWRITE</a></b> - a platform for black women and women of colour writers.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There's still so much I would like to do (and get done) when it comes to this love of mine. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">One (that keeps on eluding me) is </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="http://www.bookshybooks.com/search/label/%23100AfricanWomenWriters">#100AfricanWomenWriters</a></b> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">(one day, I will get it done). I also really want to revamp African Book Covers. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">So for now, I want to say thank you to everyone -</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> even as my blogging has gotten erratic - who still takes the time to read (and share) the content </span><span style="font-family: "arial" , "helvetica" , sans-serif;">I absolutely love putting together. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">I have no idea where the next year (or even few years) will take me, but one thing I know is as long as the love I have (and have always had) for blogging remains - and the random ideas I have for posts still keeps coming - I will continue to let my blog take me on this incredible journey. </span></div>
bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-80374852586438526552018-12-22T15:41:00.000+00:002018-12-22T16:03:06.451+00:00Happily Judging 2018 in Book Covers<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Ah! It’s that time of year. You know the one! When all the ‘best of …’ lists come out. From the </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="https://www.theguardian.com/books/2018/dec/20/genuinely-brilliant-from-cover-to-cover-your-favourite-books-of-2018">Guardian’s Genuinely Brilliant From Cover to Cover Books</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> (Hello, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Slay in Your Lane</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> and </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Akata Warrior</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">), to the </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="https://www.theroot.com/these-28-brilliant-books-by-black-authors-are-the-stand-1831112302">Roots 28 Brilliant Books by Black Authors</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> (Hello, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Stay With Me</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> and </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Children of Blood and Bone</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">), </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="https://www.nytimes.com/interactive/2018/11/19/books/review/100-notable-books.html">NYTs 100 Notable Books of 2018</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> (Hey, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Freshwater</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Friday Black</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">The Parking Lot Attendant</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">The Perfect Nanny</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Washington Black</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">) and </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="https://www.nytimes.com/2018/11/29/books/review/best-books.html">10 Best Books of 2018</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> (Hello, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">The Perfect Nann</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">y and </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Washington Black</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">), and one of my favourite best of lists visually, </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="https://apps.npr.org/best-books-2018/">NPRs Best Books of 2018</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> (Hello, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Freshwate</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">r, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">My Sister, the Serial Killer,</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Children of Blood and Bone</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">The Perfect Nanny</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Washington Black</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">,</span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"> </span><i style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;">Housegirl</i><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">). </span><span style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">Oh and <b><a href="https://www.vogue.in/content/vogue-list-of-the-top-50-books-to-bookmark-from-2018/">Vogue India have a brilliant list of Top 50 Books of 2018</a></b>. </span><span style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">And for lovers of African Literature, look no further than </span><b style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><a href="https://brittlepaper.com/african-book-lovers-guide-2018/">Brittle Paper’s 48 Notable Books of 2018</a></b><span style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;">, and also check out </span><b style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><a href="https://africanarguments.org/2018/12/13/africa-books-2018-must-read/">Africa's must-read books of 2018</a></b><span style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"> on African Arguments. </span><br />
<b id="docs-internal-guid-4f305260-7fff-d183-7e8d-022436eca7fd" style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Well, here’s another ‘best of’ list, but one based solely on book covers because well, at this point it’s no secret that I lovingly judge books by their covers. Plus, African book covers keep getting better and better each year. So why not celebrate the African book cover, especially when they all draw me in, in their own beautiful, unique and creative ways. </span></span><br />
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<span style="background-color: transparent; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I have also loved learning about designers, such as <b><a href="http://www.kimberlyglyder.com/">Kimberly Glyder</a></b> who designed Tsitsi Dangarembga's <i>This Mournable Body </i>and whose illustrations are stunning. Check out the redesigns of <b><a href="http://www.kimberlyglyder.com/Alice-Walker-author-series">Alice Walker's Books</a></b>. And really love </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">reading about the process behind designing a cover, such as </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="http://spinemagazine.co/articles/sarahmay-wilkinson">Sarahmay Wilkinson on designing Mia Cuoto's <i>Woman of the Ashes</i></a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">:</span><br />
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<span style="background-color: transparent; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>When I sat down to begin I had a couple of different things I wanted to explore; the materials of the place (sand, dirt, arid air), the magical and ethereal qualities in Cuoto's writing, and the textiles of the region (which were linked to regional history and status).</i></span></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Or <b><a href="https://www.vulture.com/article/the-best-book-covers-of-2018-described-by-the-designers.html">Michael J. Windsor on Oyinkan Braithwaite's <i>My Sister, The Serial Killer</i></a></b>: </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;"><i>Within the first few chapters of reading, the specific idea popped into my mind. So much of it is about Korede having to clean up after her sister's murders. When you see the book from a distance, you think the girl on the cover is the killer, but when you inspect the image, you see the knife reflected in her glasses and the cleaning products and it's like: What is going on?</i></span></blockquote>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">So, as much as possible, I have included the designer behind the cover, and I will continue to update whenever I find out another designer behind the selected covers. For more 2018 book covers from this year, check the <b><a href="http://www.bookshybooks.com/2018/01/2018-in-books-african-literary-calendar.html">2018 African literary calendar</a></b>. </span></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">And for </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">other best covers of 2018 lists, check out </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="https://www.pastemagazine.com/articles/2018/12/the-18-best-book-covers-of-2018.html">Paste’s 18 Best Book Covers of 2018</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="https://bookriot.com/2018/12/05/best-book-covers-of-2018/">Book Riots Best Book Covers of 2018</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="https://www.nytimes.com/2018/12/21/books/review/best-book-covers.html">NYTs 12 Best Book Covers of 2018</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="https://lithub.com/the-75-best-book-covers-of-2018/">LitHub’s 75 Best Book Covers of 2018</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, and </span><b style="font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><a href="http://www.casualoptimist.com/blog/2018/12/11/book-covers-of-note-2018/">The Casual Optimist’s Book Covers of Note 2018</a></b><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">. </span><span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">What have been some of your best African book covers of 2018?</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Cover design by Mark Robinson</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnsRwhZDhFojDuCe3nGEBYc_R-45vgyQtBqx7PJhtUkc6dpQo_dxIuyV60eXrjEEjLfrtDdgZDbV1M9B8R6npty2k3D3jWIxFOicjq3oH8vQ9axYvRJOn00wV3DakVhxyoTPUWZqqZbb-5/s1600/Ashes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="667" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnsRwhZDhFojDuCe3nGEBYc_R-45vgyQtBqx7PJhtUkc6dpQo_dxIuyV60eXrjEEjLfrtDdgZDbV1M9B8R6npty2k3D3jWIxFOicjq3oH8vQ9axYvRJOn00wV3DakVhxyoTPUWZqqZbb-5/s640/Ashes.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Designed by Sarahmay Wilkinson</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Designed by Charlotte Stroomer</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Some non-fiction up in the mix.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Designed by Kimberly Glyder</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCMRZeUyDqGbCL1yLIvQt2cCoTIZ4UjMU56Q9X2JRLwJUrc8fp3dupqcz5sFiqpji8ccIyR6VIeouJ4fT6_2uxwi3sWOz90VBVhEGk4oWvSRlCh701RvpG0a2_r8fNKUuBVaUzU3Skfp3I/s1600/Lullaby.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1007" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCMRZeUyDqGbCL1yLIvQt2cCoTIZ4UjMU56Q9X2JRLwJUrc8fp3dupqcz5sFiqpji8ccIyR6VIeouJ4fT6_2uxwi3sWOz90VBVhEGk4oWvSRlCh701RvpG0a2_r8fNKUuBVaUzU3Skfp3I/s640/Lullaby.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Designed by Donna Payne, based on the original US artwork created by Julianna Lee</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Design by Michael J Windsor</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixw5Knw1TKEZD8rfbmnWvu9OQO-NvmU2bhxN7GNsG13WeXmKA8SuSJJAhRim5MMjaMi2Xh7F4JXGhKWlGiR30by_VJIMYAVEkSmBWReLKpqD0bRCUD4t33Fs6qKNTGC-22GoFmjWY4L2KL/s1600/CBB.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1060" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixw5Knw1TKEZD8rfbmnWvu9OQO-NvmU2bhxN7GNsG13WeXmKA8SuSJJAhRim5MMjaMi2Xh7F4JXGhKWlGiR30by_VJIMYAVEkSmBWReLKpqD0bRCUD4t33Fs6qKNTGC-22GoFmjWY4L2KL/s640/CBB.jpg" width="419" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Designed byRichard Deas</td></tr>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-54118443464393039112018-12-21T18:08:00.002+00:002019-01-28T20:51:39.806+00:00Thirty-one and counting: 2019 in books<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-converted-space" style="-webkit-text-stroke: rgb(8, 8, 8);"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The year is almost over - and if you’re like me, and haven’t even managed to </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"><a href="http://www.bookshybooks.com/2018/01/2018-in-books-african-literary-calendar.html">make a dent with 2018</a></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (heck, even 2017) books - here are some more books to add to your ever-growing (or should it be never-ending) list. PS. This is in addition to </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"><a href="http://www.bookshybooks.com/2018/10/from-new-daughters-of-africa-to-other.html">these 11 books I shared a couple months ago</a></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, including Laila Lalami's </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Other Americans</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, Jennifer Nansubuga Makumbi's short story collection </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Manchester Happened</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">.</span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzv5Quyb_Z4NfVK-NWwnL4eKGBkZlys52hh-Ef_CGljyVwTsaXX0C7LJH1fnN1UYP8fGrK6_T-uJPfSWHCHxqZiEbbaYaCndAqC5bodKljSYseG0u_F11kWqP-O9qcq5cuIOjEjM4r6oqL/s1600/IMG_20181221_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="956" data-original-width="956" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzv5Quyb_Z4NfVK-NWwnL4eKGBkZlys52hh-Ef_CGljyVwTsaXX0C7LJH1fnN1UYP8fGrK6_T-uJPfSWHCHxqZiEbbaYaCndAqC5bodKljSYseG0u_F11kWqP-O9qcq5cuIOjEjM4r6oqL/s640/IMG_20181221_1.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Aren't they gorgeous?</span></td></tr>
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<b id="docs-internal-guid-2cb89a13-7fff-e5f3-db58-5550213770f5"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">January </span></b></div>
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<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.penguinrandomhouse.com/books/553157/adele-by-leila-slimani/9780143132189/"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Adèle</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> by Leila Slimani</span></a></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Adèle appears to have the perfect life: She is a successful journalist in Paris who lives in a beautiful apartment with her surgeon husband and their young son. But underneath the surface, she is bored - and consumed by an insatiable need for sex.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Driven less by pleasure than compulsion, Adèle organises her day around her extramarital affairs, arriving late to work and lying to her husband about where she's been, until she becomes ensnared in a trap of her own making. Suspenseful, erotic, and electrically charged, </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Adèle</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is a captivating exploration of addiction, sexuality, and one woman's quest to feel alive.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabds054e5ubzhyk89BGiqKHBifVnN_5cxX6Xg9YMC6Wc7MCMuf2qWsi6BzUb-cdhCDGsd4sD0-2PKlypPdcvTB-sZDv0PMTrbGGj1IblFWdQFrj2vbP5F1e0Ssy2g6-6EntBpolomnunN/s1600/Adele.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="325" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabds054e5ubzhyk89BGiqKHBifVnN_5cxX6Xg9YMC6Wc7MCMuf2qWsi6BzUb-cdhCDGsd4sD0-2PKlypPdcvTB-sZDv0PMTrbGGj1IblFWdQFrj2vbP5F1e0Ssy2g6-6EntBpolomnunN/s400/Adele.jpg" width="260" /></a></div>
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<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><a href="https://atlantic-books.co.uk/book/my-sister-the-serial-killer/"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">My Sister, the Serial Killer</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> by Oyinkan Braithwaite (UK edition</span></a><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">)</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">When Korede's dinner is interrupted one night by a distress call from her sister, Ayoola, she knows what's expected of her: bleach, rubber gloves, nerves of steel and a strong stomach. This'll be the third boyfriend Ayoola's dispatched in, quote, self-defence and the third mess that her lethal little sibling has left Korede to clear away. She should probably go to the police for the good of the menfolk of Nigeria, but she loves her sister and, as they say, family always comes first. Until, that is, Ayoola starts dating the doctor where Korede works as a nurse. Korede's long been in love with him, and isn't prepared to see him wind up with a knife in his back: but to save one would mean sacrificing the other...</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbWygWkV2G4wH748gr3ZXTb3AON7GSPKv8t5pbyRIpithlpBN67YOnrWbxVyUkSHxw8SJV2fPLlFQ1fEP3dMV1WHDvQg-7YoZV9e5B2YMER8w7iEGUjhFHI5NtEuLV0aRnhwMasMYt_xHj/s1600/Sister%252C+Serial+Killer.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="683" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbWygWkV2G4wH748gr3ZXTb3AON7GSPKv8t5pbyRIpithlpBN67YOnrWbxVyUkSHxw8SJV2fPLlFQ1fEP3dMV1WHDvQg-7YoZV9e5B2YMER8w7iEGUjhFHI5NtEuLV0aRnhwMasMYt_xHj/s400/Sister%252C+Serial+Killer.jpeg" width="266" /></a></div>
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<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.littlebrown.com/titles/chigozie-obioma/an-orchestra-of-minorities/9780316412391/"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">An Orchestra of Minorities</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> by Chigozie Obioma</span></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Set on the outskirts of Umuahia, Nigeria and narrated by a </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">chi, </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">or guardian spirit, </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">An Orchestra of Minorities</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> tells the story of Chinonso, a young poultry farmer whose soul is ignited when he sees a woman attempting to jump from a highway bridge. Horrified by her recklessness, Chinonso joins her on the roadside and hurls two of his prized chickens into the water below to express the severity of such a fall. The woman, Ndali, is stopped her in her tracks.</span></span></div>
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></b></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Bonded by this night on the bridge, Chinonso and Ndali fall in love. But Ndali is from a wealthy family and struggles to imagine a future near a chicken coop. When her family objects to the union because he is uneducated, Chinonso sells most of his possessions to attend a college in Cyprus. But when he arrives he discovers there is no place at the school for him, and that he has been utterly duped by the young Nigerian who has made the arrangements.. Penniless, homeless, and furious at a world which continues to relegate him to the sidelines, Chinonso gets further away from his dream, from Ndali and the farm he called home.</span></span></div>
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></b></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Spanning continents, traversing the earth and cosmic spaces, and told by a narrator who has lived for hundreds of years, the novel is a contemporary twist of Homer’s Odyssey. Written in the mythic style of the Igbo literary tradition, Chigozie Obioma weaves a heart-wrenching epic about destiny and determination.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP8yZE3RqbJenRnyXEkKXRTRlObWiozZgunNXuISCET5NAiCOkjVZ6-7a6LJq6s7v1NhkX_uD0wUfTAV4t4vZ3q5d3g5EhrxTlxcdDVYH-Gc3Phk64RHB5eH7Oo_pbqWC8JFCV5ENeYEr7/s1600/Minorities.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="275" data-original-width="183" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP8yZE3RqbJenRnyXEkKXRTRlObWiozZgunNXuISCET5NAiCOkjVZ6-7a6LJq6s7v1NhkX_uD0wUfTAV4t4vZ3q5d3g5EhrxTlxcdDVYH-Gc3Phk64RHB5eH7Oo_pbqWC8JFCV5ENeYEr7/s400/Minorities.jpeg" width="266" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_3dIjIvlpKKbwpEIMyuHsgrGOs_cv2QhyhdV64X8Rh3BW7yalhAFIPIhWTJJeu4Mq2Ce0N2r03laNDyoNZ_fDorqGKGhiIYX4luPFvoIezBE_FqspyXGIMXy3Qr5IUcecF98jJxZ0nJN/s1600/Minorities.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="437" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_3dIjIvlpKKbwpEIMyuHsgrGOs_cv2QhyhdV64X8Rh3BW7yalhAFIPIhWTJJeu4Mq2Ce0N2r03laNDyoNZ_fDorqGKGhiIYX4luPFvoIezBE_FqspyXGIMXy3Qr5IUcecF98jJxZ0nJN/s400/Minorities.jpg" width="258" /></a></div>
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b id="docs-internal-guid-2cb89a13-7fff-e5f3-db58-5550213770f5" style="font-family: Times;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">February</span></b></span></b></div>
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<a href="https://www.amazon.co.uk/Freedom-Artist-Ben-Okri/dp/1788549597"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">The Freedom Artist</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> by Ben Okri</span></span></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In a world uncomfortably like our own, a young woman called Alamantis is arrested for asking a question. Her question is this: Who is the Prisoner? When Alamantis disappears, her lover Karnak goes looking for her. He searches desperately at first, then with a growing realisation. To find Amalantis, he must first understand the meaning of her question.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVKQeV-wboaqIE-6wJ1fskEuV8_YaerWCPvqe3kaz3nZkwb8-6LAJgOQciorVi-TFmBoiugkdimYd7r7sV6aIIO5QLHr4yN7Uj9UJIqzhEXRlUiBa_B5Qum3-cYFekpfwrrxRISVPoevbg/s1600/Freedom+Artist.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="313" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVKQeV-wboaqIE-6wJ1fskEuV8_YaerWCPvqe3kaz3nZkwb8-6LAJgOQciorVi-TFmBoiugkdimYd7r7sV6aIIO5QLHr4yN7Uj9UJIqzhEXRlUiBa_B5Qum3-cYFekpfwrrxRISVPoevbg/s400/Freedom+Artist.jpg" width="250" /></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.loot.co.za/product/pzjc-5606-g420">Vagabond - Wandering Through Africa On Faith by Lerato Mogoatlhe</a></span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">When Lerato Mogoathle left South Africa for a planned three-month break to West Africa little did she know that those three months would turn into five years.</span></span></div>
<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b id="docs-internal-guid-6202337c-7fff-e702-5914-fe9830289039" style="font-weight: normal;"><br /></b></span></span>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Vagabond</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is her hilarious and honest account of her five years of living as a drifter in Africa. In between the borders, foreign architecture and interesting new ways of life, Mogoatlhe found passion, love, laughter and heartbreak. On these pages you will find capsules of time spent in 21 countries in five regions of Africa. You will be regaled by the tales of how she tries to worm herself into hotels when she has no money because of unpaid invoices back home. You will be mortified and proud of how she navigates herself out of difficult situations like being misread by a man who tries to force himself on her.</span></span></div>
<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="font-weight: normal;"><br /></b></span></span>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Mogoatlhe’s book is a travel memoir driven by the belief that whatever else Africa is, it is first and foremost a home. It is punctuated with a deep urge to know the continent differently. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">**via Twiiter (@iamthezuba)</span><br />
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b id="docs-internal-guid-2cb89a13-7fff-e5f3-db58-5550213770f5" style="font-family: Times;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">March</span></b></span></b></div>
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<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.weidenfeldandnicolson.co.uk/titles/leila-aboulela/bird-summons/9781474600149/BIRD%20SUMMONS/"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Bird Summons by Leila Abouela</span></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Salma</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, happily married, tries every day to fit into life in Britain. When her first love contacts her, she is tempted to risk it all and return to Egypt. </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Moni</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> gave up a career in banking to care for her disabled son, but now her husband wants to move to Saudi Arabia – where she fears her son’s condition will worsen. </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Iman</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> feels burdened by her beauty. In her twenties and already in her third marriage, she is treated like a pet and longs for freedom.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">On a road trip to the Scottish Highlands, the women are visited by the Hoopoe, a sacred bird whose fables from Muslim and Celtic literature compel them to question the balance between faith and femininity, love, loyalty and sacrifice. Brilliantly imagined, intense and haunting, </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Bird Summons</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> confirms Leila Aboulela’s reputation as one of our finest contemporary writers.</span></span></div>
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<a href="https://www.amazon.co.uk/Rosewater-Insurrection-Wormwood-Trilogy/dp/0356511375/ref=pd_sbs_14_1?_encoding=UTF8&pd_rd_i=0356511375&pd_rd_r=62731d2c-054e-11e9-a0e7-b779efb91800&pd_rd_w=74OQz&pd_rd_wg=OjCyK&pf_rd_p=18edf98b-139a-41ee-bb40-d725dd59d1d3&pf_rd_r=KJPH5CT9DY6E9JXF6YZQ&psc=1&refRID=KJPH5CT9DY6E9JXF6YZQ"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">The Rosewater Insurrection (The Wormwood Trilogy) by Tade Thompson </span></span></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The year is 2067. The city of Rosewater is chaotic, vibrant and full of life - some of it extra-terrestrial.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The charismatic mayor, Jack Jacques, has declared Rosewater a free state, independent to Nigeria. But the city's alien dome is dying. Government forces await its demise, ready to destroy Rosewater's independence before it has even begun. And in the city's quiet suburbs, a woman wakes with no memory of who she is - with memories belonging to something much older and much more alien. </span></span></div>
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b id="docs-internal-guid-2cb89a13-7fff-e5f3-db58-5550213770f5" style="font-family: Times;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">April</span></b></span></b></div>
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<a href="https://www.harpercollins.co.uk/9780008324780/the-half-god-of-rainfall/"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">The Half-God of Rainfall</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> by Inua Ellams</span></span></a></div>
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<span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">'The Half-God of Rainfall' is an epic story and a lyrical exploration of pride, power and female revenge. </span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">There is something about the boy. When he is angry, clouds darken. When he cries, rivers burst their banks. And when he touches a basketball, deities want courtside seats. Half Nigerian mortal, half Grecian God: Demi is the Half-God of Rainfall. His mother, Modupe, looks on with a mixture of pride and worry. From close encounters, she knows that Gods are just like men: the same fragile egos, the same subsequent fury, the same sense of entitlement to the bodies of mortals. The Gods will one day tire of sports fans, their fickle allegiances and their prayers to Demi. And when that moment comes, it won’t matter how special he is. Only the women in Demi’s life, the mothers, the Goddesses, will stand between him and a lightning bolt.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAgJZHxjLSu3Gtaukbut8HXM2NKLZhihmNNR0Zs5vYqk-zhhShYyOTRvzsb1xTZyw_8kK2nKHWap8Mu_K6g9uh7OqXdV1NNgzxvh5P1V5JOUSww3O1_hOV1sy2X_YmYNhPFlTkHIAadbGG/s1600/Half+God+of+Rainfall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="477" data-original-width="298" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAgJZHxjLSu3Gtaukbut8HXM2NKLZhihmNNR0Zs5vYqk-zhhShYyOTRvzsb1xTZyw_8kK2nKHWap8Mu_K6g9uh7OqXdV1NNgzxvh5P1V5JOUSww3O1_hOV1sy2X_YmYNhPFlTkHIAadbGG/s400/Half+God+of+Rainfall.jpg" width="248" /></a></div>
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<a href="https://www.amazon.co.uk/Prince-Monkeys-Nnamdi-Ehirim/dp/164009167X"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Prince of Monkeys</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> by Nnamdi Ehirim (Apr 2019)</span></span></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Growing up in middle-class Lagos, Nigeria during the late 1980s and early 1990s, Ihechi forms a band of close friends discovering Lagos together as teenagers with differing opinions of everything from film to football, Fela Kuti to spirituality, sex to politics. They remain close-knit until tragedy unfolds during an anti-government riot.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Exiled from Lagos by his concerned mother, Ihechi moves in with his uncle’s family, where he struggles to find himself outside his former circle of friends. Ihechi eventually finds success by leveraging his connection with a notorious prostitution linchpin and political heavyweight, earning favour among the ruling elite. </span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">But just as Ihechi is about to make his final ascent into the elite political class, he reunites with his childhood friends and experiences a crisis of conscience that forces him to question his world, his motives, and whom he should become.</span></span></div>
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<span style="background-color: transparent; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><a href="https://www.harpercollins.com.au/9781786695505/wolf-light/"><i>Wolf Light</i> by Yaba Badoe</a></span></span></h1>
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<span style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Born in wolf light, the magical dusk, in Mongolia, Ghana and Cornwall, Zula, Adoma and Linet are custodians of the sacred sites of their homelands. When copper miners plunder Zula's desert home in Gobi Altai, and Adoma's forest and river are polluted by gold prospectors, it is only a matter of time before the lake Linet guards with her life is also in jeopardy. How far will Zula, Adoma and Linet go to defend the well-being of their homes? And when all else fails, will they have the courage to summon the ancient power of their order, to make the landscape speak in a way that everyone will hear?</span></span></h1>
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<span style="white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://www.amazon.com/Halal-If-You-Hear-BreakBeat/dp/1608466043"><i>The BreakBeat Poets Vol. 3: Halal If You Hear Me</i>. Edited by Fatimah Asghar and Safia Elhillo </a></b></span></span><br />
<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">The collected poems dispel the notion that there is one correct way to be a Muslim by holding space for multiple, intersecting identities while celebrating and protecting those identities. </span></span><span style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Halal If You Hear Me </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">features poems by Safia Elhillo, Fatimah Asghar, Warsan Shire, Tarfia Faizullah, Angel Nafis, Beyza Ozer, and many others.</span></span></span><br />
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b id="docs-internal-guid-2cb89a13-7fff-e5f3-db58-5550213770f5" style="font-family: Times;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">May</span></b></span></b></div>
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<a href="https://commapress.co.uk/books/thirteen-months-of-sunrise/"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Thirteen Months of Sunrise</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> by Rania Mamoun. Translated by Lissie Jaquette </span></span></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A young girl collapses from hunger and is nursed back to health by a pack of dogs…</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A grieving woman remembers her absent father and her failure to keep her promise to him…</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A struggling writer conjures her muse into being, walking every inch of the city in search of inspiration…</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Thirteen Months of Sunrise</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> – the first major translated collection by a Sudanese woman writer – Rania Mamoun expertly blends the real and imagined to create an intimate portrait of life in Sudan today. From brief encounters to unusual friendships, this startling and evocative debut illuminates human experience and explores the alienation, isolation and estrangement of urban life.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1BNjRKRNl0kMzY9Jekdg5DWK5dgvfu2-5_qtcyAIyqivayEVd5tJmTXY7HzFL-ypiMMdjfmRx4Vq97pQTAq0tTkazZV101iSEYmuYBftVNh4jCbyYICdFjNasamXSyFczbryiZ8ZuAkL3/s1600/Thirteen+Months.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="403" data-original-width="260" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1BNjRKRNl0kMzY9Jekdg5DWK5dgvfu2-5_qtcyAIyqivayEVd5tJmTXY7HzFL-ypiMMdjfmRx4Vq97pQTAq0tTkazZV101iSEYmuYBftVNh4jCbyYICdFjNasamXSyFczbryiZ8ZuAkL3/s400/Thirteen+Months.jpg" width="257" /></a></div>
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<a href="https://www.penguin.co.uk/books/305/305706/don-t-touch-my-hair/9780241308349.html"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">Don't Touch My Hair by Emma Dabiri</span></span></a></div>
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<span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Straightened. Stigmatised. 'Tamed'. Celebrated. Erased. Managed. Appropriated. Forever misunderstood. Black hair is never 'just hair'.</span></span></div>
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></b></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This book is about why black hair matters and how it can be viewed as a blueprint for decolonisation. Emma Dabiri takes us from pre-colonial Africa, through the Harlem Renaissance, Black Power and on to today's Natural Hair Movement, the Cultural Appropriation Wars and beyond. We look at everything from hair capitalists like Madam C.J. Walker in the early 1900s to the rise of Shea Moisture today, from women's solidarity and friendship to 'black people time', forgotten African scholars and the dubious provenance of Kim Kardashian's braids.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The scope of black hairstyling ranges from pop culture to cosmology, from prehistoric times to the (afro)futuristic. Uncovering sophisticated indigenous mathematical systems in black hairstyles, alongside styles that served as secret intelligence networks leading enslaved Africans to freedom, </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Don't Touch My Hair </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">proves that far from being </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">only </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">hair</span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">,</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> black hairstyling culture can be understood as an allegory for black oppression and, ultimately, liberation.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj66TclOLZWLUfP3JZ7VDb-sEpVBprVmtnjD4kKEyC33E5t9qHTRXAGf9_ZJxxJOkuaaq-h-wMdTy5NV8XjNxTVvV3BhyJtszpMPLW9RVw059rCi7Fl5_Ki3HAsES-IUQfxF3LW9I7z2WNP/s1600/Hair.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="440" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj66TclOLZWLUfP3JZ7VDb-sEpVBprVmtnjD4kKEyC33E5t9qHTRXAGf9_ZJxxJOkuaaq-h-wMdTy5NV8XjNxTVvV3BhyJtszpMPLW9RVw059rCi7Fl5_Ki3HAsES-IUQfxF3LW9I7z2WNP/s400/Hair.jpg" width="261" /></a></div>
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<a href="http://www.akashicbooks.com/catalog/new-generation-african-poets-a-chapbook-box-set-sita/"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">New-Generation African Poets: A Chapbook Box Set (Sita)</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> Edited by Kwame Dawes and Chris Abani</span></span></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This eleven-piece, limited-edition box set—an African Poetry Book Fund (APBF) project—features the work of ten new African poets.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7c6n5Kewt3BCwT12uXp5Jv_udptEGNfkdEKdPUn5ffKQMbb0WzdBP75yrad9burq-bJXSTO4XQUBhWJvjJmn1FQUP6EEsQdnUNcg7PK_V1U0hgYAXlf2bGitIEqijsjiMMwaDuB52RJO0/s1600/New-GenAfricanPoets.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="533" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7c6n5Kewt3BCwT12uXp5Jv_udptEGNfkdEKdPUn5ffKQMbb0WzdBP75yrad9burq-bJXSTO4XQUBhWJvjJmn1FQUP6EEsQdnUNcg7PK_V1U0hgYAXlf2bGitIEqijsjiMMwaDuB52RJO0/s400/New-GenAfricanPoets.jpg" width="266" /></a></div>
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<span style="background-color: transparent; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://www.amazon.co.uk/Exiles-Eden-Ladan-Ali-Osman/dp/1566895448"><i>Exiles of Eden</i> by Ladan Osman</a></b></span></span></div>
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<span style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span id="docs-internal-guid-5ff44481-7fff-e40e-ab59-5fa28b85616b"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Exiles of Eden</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> looks at the origin story of Adam, Eve, and their exile from the Garden of Eden, exploring displacement and alienation from its mythological origins to the present. In this formally experimental collection steeped in Somali narrative tradition, Osman gives voice to the experiences and traumas of displaced people over multiple generations. The characters in these poems encounter exile's strangeness while processing the profoundly isolating experience of knowing that that once you are sent out of Eden, you can't go back.</span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFxTTlrDEP8hK0sm7q5HETazfnVcTNfFWgkKtxywHbD9papgLCwMv0hax3AP6H8L-JcUDmIZ1JGxz_KhrS7au1aXpXBWmXYloOciAEw1ID2-PzD21dDn1fQ1fPlFv87mD2M6FLIPgMXXU7/s1600/Exiles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="333" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFxTTlrDEP8hK0sm7q5HETazfnVcTNfFWgkKtxywHbD9papgLCwMv0hax3AP6H8L-JcUDmIZ1JGxz_KhrS7au1aXpXBWmXYloOciAEw1ID2-PzD21dDn1fQ1fPlFv87mD2M6FLIPgMXXU7/s400/Exiles.jpg" width="266" /></a></div>
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b id="docs-internal-guid-2cb89a13-7fff-e5f3-db58-5550213770f5" style="font-family: Times;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">June</span></b></span></b></div>
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<a href="https://www.simonandschuster.com/books/Broken-Places-Outer-Spaces/Nnedi-Okorafor/TED-Books/9781501195471"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Broken Places & Outer Spaces: Finding Creativity in the Unexpected</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> by Nnedi Okorafor</span></span></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Nnedi Okorafor was never supposed to be paralysed. A college track star and budding entomologist, Nnedi’s lifelong battle with scoliosis was just a bump in her plan—something a simple operation would easily correct. But when Nnedi wakes from the surgery to find she can’t move her legs, her entire sense of self begins to waver. Confined to a hospital bed for months, unusual things begin to happen. Psychedelic bugs crawl her hospital walls; strange dreams visit her nightly. Nnedi begins to put these experiences into writing, conjuring up strange, fantastical stories. What Nnedi discovers during her confinement would prove to be the key to her life as a successful science fiction author: In science fiction, when something breaks, something greater often emerges from the cracks.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Broken Places & Outer Spaces</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, Nnedi takes the reader on a journey from her hospital bed deep into her memories, from her painful first experiences with racism as a child in Chicago to her powerful visits to her parents’ hometown in Nigeria. From Frida Kahlo to Mary Shelly, she examines great artists and writers who have pushed through their limitations, using hardship to fuel their work. Through these compelling stories and her own, Nnedi reveals a universal truth: What we perceive as limitations have the potential to become our greatest strengths—far greater than when we were unbroken.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">A guidebook for anyone eager to understand how their limitations might actually be used as a creative springboard, </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Broken Places & Outer Spaces</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is an inspiring look at how to open up new windows in your mind.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3zYTJkDmCGMfWNVDvUNCug_blDggLZD7q5bCQ_tt1irHDECLeU4sp5fPf9MBlhdnIFDAhFa8lgQIixqTyMTGZlULsWyXlNivKgBuJHGx7O8qTjzphHzQlMXbsDdQO2utMxc7jTfQsyIHZ/s1600/Broken+Places.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="286" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3zYTJkDmCGMfWNVDvUNCug_blDggLZD7q5bCQ_tt1irHDECLeU4sp5fPf9MBlhdnIFDAhFa8lgQIixqTyMTGZlULsWyXlNivKgBuJHGx7O8qTjzphHzQlMXbsDdQO2utMxc7jTfQsyIHZ/s400/Broken+Places.jpg" width="285" /></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><a href="https://books.wwnorton.com/books/detail.aspx?ID=4294998190"><span style="font-family: "arial" , "helvetica" , sans-serif;">Travelers by Helon Habila</span></a></span></div>
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<span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Accompanying his wife on a prestigious arts fellowship in Berlin, a Nigerian scholar finds there are no walls between his privileged, secure existence and the stories of other Africans on the move: among them: a transgender film student seeking the freedom to live an authentic life; a Libyan doctor who lost his wife and son in the waters of the Mediterranean; a Somalian shopkeeper who tried to save his young daughter from a marriage forced on her by an al-Shabab commander.</span></span></div>
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<span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">His sense of identity begins to dissolve as he can no longer separate himself from others’ horrors, and he realises he is inextricably connected to those lives that have touched his. From a Berlin nightclub to a refugee deportation camp in Sicily to the London apartment of a Malawian poet, his empathy with the lives of other “travelers” brings him to a new journey, a reverse migration in pursuit of the universal dream of love and home.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC0iZRKWX9oZ_WepFPxVEsq8XbmhbNEzwimVTe57M6u6nw9sY_3KGAoq4DMJWZBI1MYEsQ3yz5T5wj54vLnq6V87M9a9yhtY0A45k_TEMKkVrv_zN4ijes45AmtZgMxfhyaXeMfc-DdfSf/s1600/Travellers.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="456" data-original-width="300" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC0iZRKWX9oZ_WepFPxVEsq8XbmhbNEzwimVTe57M6u6nw9sY_3KGAoq4DMJWZBI1MYEsQ3yz5T5wj54vLnq6V87M9a9yhtY0A45k_TEMKkVrv_zN4ijes45AmtZgMxfhyaXeMfc-DdfSf/s400/Travellers.jpeg" width="262" /></a></div>
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<span style="background-color: transparent; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://www.lunapresspublishing.com/single-post/2019/01/17/Introducing-Incomplete-Solution-by-Wole-Talabi?fb_comment_id=1761294587247979_1763534253690679"><i>Incomplete Solutions</i> by Wole Talabi</a></b></span></span></div>
<span id="docs-internal-guid-a8bab9a0-7fff-0150-a1f2-bc78f336f336"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">From the bustling streets of Lagos to the icy moons of Jupiter, the stories in </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Incomplete Solutions</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> explore accelerating technology, complex histories, diverse beliefs and human potential from my own unique perspective. </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Incomplete Solutions</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> contains 17 short stories, 2 novelettes, and 1 novella, as well as art and notes on some of the stories for the bonus material section.</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2E49uWtgwG0K-ZZ5iIUXY7rjtvXL6dYocJ_DqpU_2EX5zGymxd1TDwJzi3YcQTw4T9hO2s821sRd4fcM4Pgq7zTz59kx-m3hVi5cDtLkT9nt-0EXL5qnmNGNSRYrZo2FibRSdb0I98E3I/s1600/incomplete.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1030" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2E49uWtgwG0K-ZZ5iIUXY7rjtvXL6dYocJ_DqpU_2EX5zGymxd1TDwJzi3YcQTw4T9hO2s821sRd4fcM4Pgq7zTz59kx-m3hVi5cDtLkT9nt-0EXL5qnmNGNSRYrZo2FibRSdb0I98E3I/s400/incomplete.webp" width="256" /></a></div>
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<span style="background-color: white; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"><b id="docs-internal-guid-2cb89a13-7fff-e5f3-db58-5550213770f5" style="font-family: Times; font-size: medium; white-space: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">July</span></b></span></div>
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<a href="https://www.amazon.co.uk/David-Mogo-Godhunter-Davies-Okungbowa/dp/1781086494"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">David Mogo, Godhunter by Suyi Davies Okungbowa</span></span></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Since the Orisha War that rained thousands of deities down on the streets of Lagos, David Mogo, demigod, scours Eko’s dank underbelly for a living wage as a freelance Godhunter. Despite pulling his biggest feat yet by capturing a high god for a renowned Eko wizard, David knows his job’s bad luck. He’s proved right when the wizard conjures a legion of Taboos—feral godling-child hybrids—to seize Lagos for himself. To fix his mistake and keep Lagos standing, David teams up with his foster wizard, the high god’s twin sister and a speech-impaired Muslim teenage girl to defeat the wizard.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy1oc9OSzl7gs4P4JS8jL1CTL8AspB-UxpaQK3YjVfaPL1xKnqdmtxnawFsPq358PdPIukvJE_y5l61fkav0TM-9GtkC6nRZjzgFqAxvh2-5dK-O7gSL8bRvCJlNjlrxb5QkiGPQ0JOw2C/s1600/David+Mogo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="326" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy1oc9OSzl7gs4P4JS8jL1CTL8AspB-UxpaQK3YjVfaPL1xKnqdmtxnawFsPq358PdPIukvJE_y5l61fkav0TM-9GtkC6nRZjzgFqAxvh2-5dK-O7gSL8bRvCJlNjlrxb5QkiGPQ0JOw2C/s400/David+Mogo.jpg" width="261" /></a></div>
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<a href="https://cassavarepublicpress.biz/product/becoming-nigerian-a-guide/?v=79cba1185463"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Becoming Nigerian: A Guide</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> by Elnathan John (Feb 2019 in Nigeria)</span></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Be(com)ing Nigerian:</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">A guide</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is a satirical collection that takes a searing look at how different forms of power are abused, negotiated and performed both in the private and public realm. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Through attempting to satirise those who abuse privilege or power, it recognises that power can be found everywhere: in politics, business, religious institutions and in homes. From the exploration of religious hypocrisy in </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">How To Worship The Nigerian God</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, to </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">A Letter to My Future Kidnapper </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">which tackles the growing scourge of kidnapping, the collection is a jab at Nigerian society and what it means to be a Nigerian. Beyond poking fun at the holders of power, it is a summon, a provocation and a call for introspection among all levels of society. As it is often said in Nigeria, when you point with one finger, there are four others pointing back at you. This is an engrossing read for Nigerian watchers, and strangers to Nigeria alike, with its tongue-in-cheek look at Nigeria’s relationship to the world, both culturally and politically.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs9izMJqz-wltxZNxKQoAlp3uphyphenhyphenBeNcYTUMiUKgMcOc-g-Wfr6vjzFYPADOUKSq8KMfuQ52V228FyVMjrOVgvrP8mBNPUfO_l70WrMbB2MC4pavEMxMJyZWDWGOuxDO27PPxAkS2sv6bz/s1600/BecomingNigerian.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="624" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs9izMJqz-wltxZNxKQoAlp3uphyphenhyphenBeNcYTUMiUKgMcOc-g-Wfr6vjzFYPADOUKSq8KMfuQ52V228FyVMjrOVgvrP8mBNPUfO_l70WrMbB2MC4pavEMxMJyZWDWGOuxDO27PPxAkS2sv6bz/s400/BecomingNigerian.jpg" width="243" /></a></div>
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<span style="background-color: transparent; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://www.barnesandnoble.com/w/the-survival-of-molly-southbourne-tade-thompson/1130062762?ean=9781250217264"><i>The Survival of Molly Southbourne</i> by Tade Thompson</a></b></span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Who was Molly Southbourne? What did she leave behind?</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A burnt-out basement. A name stained in blood. Bodies that remember murder, one of them left alive. A set of rules that no longer apply.</span></span></div>
<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span id="docs-internal-guid-94b2af0b-7fff-19cf-da46-bd9b28759cf4"></span></span></b><br />
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Molly Southbourne is alive. If she wants to survive, she'll need to run, hide, and be ready to fight. There are people who remember her, who know what she is and what she's done. Some want her alive, some want her dead, and all hold a piece to the puzzles in her head. Can Molly escape them, or will she confront the bloody history that made her?</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjV8u5r2jUdkUMcO0SVYHPZO2JT27Yo6_GDda3gRsZh_KDdVro6FPQTI3_QmIkPFd_MjOprjcY9erPSQcxOAH7NJ6dnlaOMzpauDITFVlfvzBnkiE2Me0Fn9JUoMILr3YwmyD3-rCOMbyh/s1600/Survival.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="406" data-original-width="253" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjV8u5r2jUdkUMcO0SVYHPZO2JT27Yo6_GDda3gRsZh_KDdVro6FPQTI3_QmIkPFd_MjOprjcY9erPSQcxOAH7NJ6dnlaOMzpauDITFVlfvzBnkiE2Me0Fn9JUoMILr3YwmyD3-rCOMbyh/s400/Survival.jpg" width="246" /></a></div>
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b id="docs-internal-guid-2cb89a13-7fff-e5f3-db58-5550213770f5" style="font-family: Times;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">August</span></b></span></b></div>
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<a href="https://www.simonandschuster.com/books/A-Particular-Kind-of-Black-Man/Tope-Folarin/9781501171819"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">A Particular Kind of Black Man</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> by Tope Folarin (Aug 2019)</span></span></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Living in small-town Utah has always been an uneasy fit for Tunde Akinola’s family, especially for his Nigeria-born parents. Though Tunde speaks English with a Midwestern accent, he can’t escape the children who rub his skin and ask why the black won’t come off. As he struggles to fit in and find his place in the world, he finds little solace from his parents who are grappling with their own issues.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Tunde’s father, ever the optimist, works tirelessly chasing his American dream while his wife, lonely in Utah without family and friends, sinks deeper into schizophrenia. Then one otherwise-ordinary morning, Tunde’s mother wakes him with a hug, bundles him and his baby brother into the car, and takes them away from the only home they’ve ever known.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">But running away doesn’t bring her, or her children, any relief from the demons that plague her; once Tunde’s father tracks them down, she flees to Nigeria, and Tunde never feels at home again. He spends the rest of his childhood and young adulthood searching for connection—to the wary stepmother and stepbrothers he gains when his father remarries; to the Utah residents who mock his father’s accent; to evangelical religion; to his Texas middle school’s crowd of African-Americans; to the fraternity brothers of his historically black college. In so doing, he discovers something that sends him on a journey away from everything he has known.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcmU9JurltVuxcNgMfb9YjEAKQ-47qe4o_XZRK5FGZG1kmqpnPY7mpB0b0mwYHOJHRkMKSSKbHbHmylRX-Z17BQxF1YGKnP8bq4aQEa07-qfS1p0H4KIjSDcWnqjJHRVgfDFTstFTD01B0/s1600/Black+Man.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="261" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcmU9JurltVuxcNgMfb9YjEAKQ-47qe4o_XZRK5FGZG1kmqpnPY7mpB0b0mwYHOJHRkMKSSKbHbHmylRX-Z17BQxF1YGKnP8bq4aQEa07-qfS1p0H4KIjSDcWnqjJHRVgfDFTstFTD01B0/s400/Black+Man.jpg" width="260" /></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.harpercollins.com/9780062698346/im-telling-the-truth-but-im-lying/">I’m Telling the Truth, But I’m Lying: Essays by Bassey Ikpi</a></span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A deeply personal collection of essays exploring Nigerian-American author Bassey Ikpi’s experiences navigating Bipolar II and anxiety throughout the course of her life.</span></span></div>
<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b id="docs-internal-guid-189c1a4b-7fff-c04d-3212-462977921b5a" style="font-weight: normal;"><br /></b></span></span>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Bassey Ikpi was born in Nigeria in 1976. Four years later, she and her mother joined her father in Stillwater, Oklahoma —a move that would be anxiety ridden for any child, but especially for Bassey. Her early years in America would come to be defined by tension: an assimilation further complicated by bipolar II and anxiety that would go undiagnosed for decades.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">By the time she was in her early twenties, Bassey was a spoken word artist and traveling with HBO's </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Russell Simmons</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Def Poetry Jam</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, channeling her experiences into art. But something wasn’t right—beneath the façade of the confident performer, Bassey’s mental health was in a precipitous decline, culminating in a breakdown that resulted in hospitalisation and a diagnosis of Bipolar II.</span></span></div>
<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Determined to learn from her experiences—and share them with others—Bassey became a mental health advocate and has spent the fourteen years since her diagnosis examining the ways mental health is inextricably intertwined with every facet of ourselves and our lives. Viscerally raw and honest, the result is an exploration of the stories we tell ourselves to make sense of who we are—and the ways, as honest as we try to be, each of these stories can also be a lie.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3PE5IFtFiqfr22y2rdwz5Z6KaimNkQ_XwV5PkrPRrEcZU1AcHV_ZNG3SjIAo3lnR1N26t4GmGIsy2QDFSI8czJadw54juzAmPRLAkeZQ5xbcvLnfcCmzJ-7dP3R5SbkOS40hLXNaR65Rb/s1600/Ikpi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="430" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3PE5IFtFiqfr22y2rdwz5Z6KaimNkQ_XwV5PkrPRrEcZU1AcHV_ZNG3SjIAo3lnR1N26t4GmGIsy2QDFSI8czJadw54juzAmPRLAkeZQ5xbcvLnfcCmzJ-7dP3R5SbkOS40hLXNaR65Rb/s400/Ikpi.jpg" width="265" /></a></div>
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<span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.amazon.co.uk/When-Plums-Ripe-Patrice-Nganang/dp/0374288992">When the Plums Are Ripe by Patrice Nganang. Translated by Amy Baram Reid. </a></span></span></div>
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<span style="background-color: white; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The second volume in a magisterial trilogy, the story of Cameroon caught between empires during World War II.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In Cameroon, plum season is a highly anticipated time of year. But for the narrator of </span><span style="background-color: white; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">When the Plums Are Ripe</span><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, the poet Pouka, the season reminds him of the "time when our country had discovered the root not so much of its own violence as that of the world's own, and, in response, had thrown its sons who at that time were called Senegalese infantrymen into the desert, just as in the evenings the sellers throw all their still-unsold plums into the embers." In this novel of radiant lyricism, Patrice Nganang recounts the story of Cameroon's forced entry into World War II, and in the process complicates our own understanding of that globe-spanning conflict. After the fall of France in 1940, Cameroon found itself caught between Vichy and the Free French at a time when growing nationalism advised allegiance to neither regime, and was ultimately dragged into fighting throughout North Africa on behalf of the Allies.</span></span></div>
<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span id="docs-internal-guid-3adf1530-7fff-80bb-9d06-029d4fe35ef7"><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Moving from Pouka's story to the campaigns of the French general Leclerc and the battles of Kufra and Murzuk, Nganang questions the colonial record and recenters African perspectives at the heart of Cameroon's national history, all the while writing with wit and panache. </span><span style="background-color: white; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">When the Plums Are Ripe</span><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> is a brilliantly crafted, politically charged epic that challenges not only the legacies of colonialism but the intersections of language, authority, and history itself.</span></span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVn3xjCgG8IkfP0-ytBaEqJTqSJ6fxAq2VRzUpQr_cX2FIJ6d6tTXKnQsdRAVgLlRaQvThu8JzyxDmY9ZAPmpUAqqELlTacAsUCzM12ImWeAIpyjX0wG-DOQU861Jpon5Vyb3Kz5PoGfVJ/s1600/plums.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="331" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVn3xjCgG8IkfP0-ytBaEqJTqSJ6fxAq2VRzUpQr_cX2FIJ6d6tTXKnQsdRAVgLlRaQvThu8JzyxDmY9ZAPmpUAqqELlTacAsUCzM12ImWeAIpyjX0wG-DOQU861Jpon5Vyb3Kz5PoGfVJ/s400/plums.jpg" width="265" /></a></div>
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-family: "times";"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b id="docs-internal-guid-2cb89a13-7fff-e5f3-db58-5550213770f5" style="font-family: Times;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">September</span></b></span></span></span></b><br />
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<span style="background-color: transparent; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://www.penguinrandomhouse.ca/books/586483/pet-by-akwaeke-emezi/9780593104934"><i>Pet</i> by Akwaeke Emeze</a></b></span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A thought-provoking and haunting novel about a creature that escaped from an artist’s canvas, whose talent is sniffing out monsters in a world that claims they don’t exist anymore. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There are no monsters anymore, or so the children in the city of Lucille are taught. Jam and her best friend, Redemption, have grown up with this lesson all their life. But when Jam meets Pet, a creature made of horns and colours and claws, who emerges from one of her mother’s paintings and a drop of Jam’s blood, she must reconsider what she’s been told. Pet has come to hunt a monster - and the shadow of something grim lurks in Redemption’s house. Jam must fight not only to protect her best friend, but also uncover the tru</span></span></b><span style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">th, and the answer to the question: </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">How do you save the world from monsters if no one will admit they exist?</span></span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimgvYtu43-zaanEhrdeLZRLfsY_PXPY-fcDE6W_uqcaNtoASUj44xhQRA9NgRDxHfSB-V7xjof2-qEnLIL6wG98W1-5F9odjjPc1itUh4mptdtryVnVUFiQqip9VfIm5HD7kFsZ8IxSRKB/s1600/Pet.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="448" data-original-width="305" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimgvYtu43-zaanEhrdeLZRLfsY_PXPY-fcDE6W_uqcaNtoASUj44xhQRA9NgRDxHfSB-V7xjof2-qEnLIL6wG98W1-5F9odjjPc1itUh4mptdtryVnVUFiQqip9VfIm5HD7kFsZ8IxSRKB/s400/Pet.jpeg" width="270" /></a></div>
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<span style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></span>
<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b id="docs-internal-guid-2cb89a13-7fff-e5f3-db58-5550213770f5" style="font-family: Times;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">October</span></b></span></b></div>
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<a href="https://www.amazon.co.uk/Rosewater-Redemption-Wormwood-Trilogy/dp/0356511391"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">The Rosewater Redemption (The Wormwood Trilogy)</span></span></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Life in the newly independent city state of Rosewater isn't everything its citizens were expecting...</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Mayor Jacques finds that debts incurred during the insurrection are coming back to haunt him. Nigeria isn't willing to let Rosewater go without a fight... And among the city's alien inhabitants, a group has emerged who murder humans to provide bodies for their takeover...</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Operating across spacetime, the xenosphere, and international borders, it is up to a small group of hackers and criminals to prevent the extra-terrestrial advance. The fugitive known as Bicycle Girl, Kaaro and his old handler Femi, may be humanity's last line of defence.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPgpX7vQprYTa3sGCukcYzzGq_ML2-nBc7xTQlKcTeshbrXzA6-ZxL3xM1IyxHktnyR88kKm836Z_tNBVJ2FCROjeEV8AKOgPVmAECMVUvezCnOpv_5HUAIoUEY4t_OASd9PofOhdmsI8_/s1600/Redemption.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="316" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPgpX7vQprYTa3sGCukcYzzGq_ML2-nBc7xTQlKcTeshbrXzA6-ZxL3xM1IyxHktnyR88kKm836Z_tNBVJ2FCROjeEV8AKOgPVmAECMVUvezCnOpv_5HUAIoUEY4t_OASd9PofOhdmsI8_/s400/Redemption.jpg" width="252" /></a></div>
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></b></div>
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<a href="http://www.iupress.indiana.edu/product_info.php?cPath=1037_3130_10415&products_id=809757"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">The Negro Grandsons of Vercingetorix</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> by Alain Mabanckou, translated by Bill Johnston</span></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Set in the imaginary African Republic of Vietongo, </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Negro Grandsons of Vercingetorix</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, begins when conflict breaks out between rival leaders and the regional ethnic groups they represent. Events recorded in a series of notebooks under the watchful eye of Hortense Lloki, show how civil war culminates in a series of outlandish actions perpetrated by the warring parties' private militias—the Anacondas and the Romans from the North who have seized power against Vercingetorix (named after none less than the legendary Gallic warrrior who fought against Ceasar’s army) and his Little Negro Grandsons in the South who are eager to regain control. Award-winning author Alain Mabanckou is at his satiric best in this novel that catalogues the pain and suffering caused by the ravages of civil war. Translated into English for the first time, this novel provides a gritty slice of life in an active war zone.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5WsSM5RCv4WSCUeDotlZaAK6p5q3rvwpYOOVFocY7Z8cvzijD-lXjccSdbGePNSbJv8jUgPSu6BGyU1MnpnP9tPPpvSnCyg0Q2HPKlqahztsvvNcLLjW3UT80zwH6UOG6adRRzvKLWoqO/s1600/Negro+Grandsons.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="355" data-original-width="230" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5WsSM5RCv4WSCUeDotlZaAK6p5q3rvwpYOOVFocY7Z8cvzijD-lXjccSdbGePNSbJv8jUgPSu6BGyU1MnpnP9tPPpvSnCyg0Q2HPKlqahztsvvNcLLjW3UT80zwH6UOG6adRRzvKLWoqO/s400/Negro+Grandsons.jpg" width="258" /></a></div>
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<b style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b id="docs-internal-guid-2cb89a13-7fff-e5f3-db58-5550213770f5" style="font-family: Times;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">November</span></b></span></b></div>
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<a href="https://elnathanjohn.com/books"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">On Ajayi Cowther Stree</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">t by Elnathan John and illustrated by Alaba Onajin </span></span></a></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">On the noisy Ajayi Crowther Street in cosmopolitan Lagos, neighbours gather to gossip, discuss noise complaints, and faithfully head to church each Sunday. But beneath the surface lies a hidden world of clandestine love affairs, hidden pregnancy, spiritual quackery and hypocrisy, that threatens to destroy the community from within.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">On Ajayi Crowther Street</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> peels back the curtains on the lives of Reverend Akpoborie and his family, to reveal a tumultuous world full of secrets and lies. His only son, Godstime, is struggling to hide his sexuality from his parents whilst his daughter Keturah must hide the truth of her pregnancy by her pastor boyfriend to preserve her and her family’s image. But it is the Reverend himself who hides the darkest secret of them all, as his wandering eye lands on Kyauta, their young live-in maid.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">On Ajayi Crowther Street </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">is a story of urban and religious Nigeria's contradictions and complexities; of the hypocrisies in middle-class Nigeria.</span></span></div>
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<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.thebookseller.com/news/newly-discovered-stories-nobel-laureate-naguib-mahfouz-saqi-890706"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Saqi Books will also be publishing a newly discovered collection of short stories by the late author Naguib Mahfouz</span></a><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; vertical-align: baseline; white-space: pre-wrap;"> in autumn 2019. While Maaza Mengiste also tweeted to [her?] Novel to ‘</span><a href="https://twitter.com/MaazaMengiste/status/1075801361567150082"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Get ready for #2019’</span></a><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; vertical-align: baseline; white-space: pre-wrap;">. So, there might be one in the works. Further afield in 2020, there's </span><a href="http://www.pontas-agency.com/books/minna-salami/sensuous-knowledge/"><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Sensuous Knowledge </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">by Minna Salami</span></a><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; vertical-align: baseline; white-space: pre-wrap;">and it looks like </span><a href="http://www.pontas-agency.com/books/victoria-princewill/in-the-palace-of-flowers/"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Victoria Princewill's </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">In The Palace of Flowers</span></a><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; vertical-align: baseline; white-space: pre-wrap;">might be </span><a href="https://twitter.com/vpofrances"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">slated for Jan 2020 based on the author's twitter bio</span></a><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; vertical-align: baseline; white-space: pre-wrap;">.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">There's also something for the little ones courtesy of </span><a href="https://www.lantanapublishing.com/"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 700; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Lantana Publishing out in March</span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; vertical-align: baseline; white-space: pre-wrap;">:</span></a><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Maisie's Scrapbook </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">by Samuel Narh & Jo Loring-Fisher.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">As the seasons turn, Maisie rides her bull in and out of Dada's tall tales. Her Mama wears linen and plays the viola. Her Dada wears kente cloth and plays the marimba. They come from different places, but they hug her in the same way. And most of all, they love her just the same. A joyful celebration of a mixed-race family and the love that binds us all together. </span></span></div>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.comtag:blogger.com,1999:blog-3907495350932473227.post-74434335193120586722018-10-13T15:11:00.003+01:002018-10-13T15:11:40.722+01:00From New Daughters of Africa to The Other Americans: 11 New Releases for 2019<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">I was doing my usual sweep of the internet - catching up on what is happening in the world of literature and beyond - when I saw a tweet by Laila Lalami with the cover of her forthcoming book, <i>The Other Americans</i>. <i>The Moor's Account </i>is up there as <b><a href="http://www.bookshybooks.com/2018/03/what-books-by-african-women-writers.html">one of my favourite books</a></b> (I would go as far as saying it would be in my top 10 of books) - so obviously I was excited to see this tweet. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Laila Lalami's new book then got me thinking about some of the new releases for 2019, and specifically some of the books being published by women's writers. A more comprehensive list soon come - as there are so many exciting books out next year. For now, here are 11 books from women writers to look forward to in 2019. Also, looks like March is going to be an expensive month for some of us - with 6 of these new releases scheduled for then.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b><a href="https://us.macmillan.com/books/9781250170996"><i>Children of Virtue and Vengeance (Legacy of Orisha)</i> by Tomi Adeyemi (March 2019)</a></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Children of Virtue and Vengeance</i> is the stunning sequel to Tomi Adeyemi's New York Times bestselling debut <i>Children of Blood and Bone</i>, the first title in her Legacy of Orïsha trilogy.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">After battling the impossible, Zélie and Amari have finally succeeded in bringing magic back to the land of Orïsha. But the ritual was more powerful than they could've imagined, reigniting the powers of not only the maji, but of nobles with magic ancestry, too.<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Now, Zélie struggles to unite the maji in an Orïsha where the enemy is just as powerful as they are. But when the monarchy and military unite to keep control of Orïsha, Zélie must fight to secure Amari's right to the throne and protect the new maji from the monarchy's wrath.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">With civil war looming on the horizon, Zélie finds herself at a breaking point: she must discover a way to bring the kingdom together or watch as Orïsha tears itself apart.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b><a href="https://myriadeditions.com/books/new-daughters-of-africa/"><i>New Daughters of Africa: An International Anthology of Writing by Women of African Descent</i>. Edited by Margaret Busby (March 2019)</a></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">This major new international anthology celebrates the work of women of African descent, captures their continuing contributions, and charts a contemporary literary landscape as never before. A glorious portrayal of the richness and range of the singular and combined accomplishments of more than 200 contributors, <i>New Daughters of Africa</i> showcases their global sweep, diversity and achievements while also testifying to a wealth of genres: autobiography, memoir, letters, short stories, novels, poetry, drama, humour, journalism, essays and speeches.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Following up Margaret Busby’s landmark 1992 anthology <i>Daughters of Africa</i>, this companion volume brings together the words of writers from across the globe—Antigua to Zimbabwe, Angola to the USA—to honour a unifying heritage while showing the remarkable range of creativity from the African diaspora particularly in the past 25 years. Arranged chronologically, New Daughters of Africa illustrates an uplifting sense of sisterhood and the links that endure from generation to generation, as well as common obstacles writers still negotiate around issues of race, gender and class.</span></div>
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<span style="font-size: small;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>New Daughters of Africa</i> features </span><span style="font-family: Arial, Helvetica, sans-serif;">key figures and popular contemporaries, as well as overlooked historical authors and today’s new and emerging writer.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b><a href="https://www.indiebound.org/book/9781524747145?aff=penguinrandom"><i>The Other Americans</i> by Laila Lalami (March 2019)</a></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">From the Pulitzer Prize finalist, author of <i>The Moor's Account - </i>a timely and powerful new novel about the suspicious death of a Moroccan immigrant that is at once a family saga, a murder mystery, and a love story, all of it informed by the treacherous fault lines of American culture.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Late one spring night, Driss Guerraoui, a Moroccan immigrant in California, is walking across a darkened intersection when he is killed by a speeding car. The repercussions of his death bring together a diverse cast of characters: Guerraoui's daughter Nora, a jazz composer who returns to the small town in the Mojave she thought she'd left for good; his widow Maryam, who still pines after her life in the old country; Efraín, an undocumented witness whose fear of deportation prevents him from coming forward; Jeremy, an old friend of Nora's and a veteran of the Iraq war; Coleman, a detective who is slowly discovering her son's secrets; Anderson, a neighbour trying to reconnect with his family; and the murdered man himself.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">As the characters--deeply divided by race, religion or class--tell their stories, connections among them emerge, even as Driss's family confronts its secrets, a town faces its hypocrisies, and love, messy and unpredictable, is born.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b><a href="https://www.penguinrandomhouse.com/books/545470/the-dragonfly-sea-by-yvonne-adhiambo-owuor/"><i>The Dragonfly Sea</i> by Yvonne Adhiambo Owuor (March 2019)</a></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">From the award-winning author of <i>Dust</i> comes a vibrant, stunning coming-of-age novel about a young woman struggling to find her place in a vast world--a poignant exploration of fate, mortality, love, and loss.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">On the island of Pate, off the coast of Kenya, lives solitary, stubborn Ayaana and her mother, Munira. When a sailor named Muhidin, also an outsider, enters their lives, Ayaana finds something she has never had before: a father. But as Ayaana grows into adulthood, forces of nature and history begin to reshape her life and the island itself--from a taciturn visitor with a murky past to a sanctuary-seeking religious extremist, from dragonflies to a tsunami, from black-clad kidnappers to cultural emissaries from China. Ayaana ends up embarking on a dramatic ship's journey to the Far East, where she will discover friends and enemies; be seduced by the charming but unreliable scion of a powerful Turkish business family; reclaim her devotion to the sea; and come to find her own tenuous place amid a landscape of beauty and violence and surprising joy. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Told with a glorious lyricism and an unerring sense of compassion, <i>The Dragonfly Sea</i> is a transcendent story of adventure, fraught choices, and of the inexorable need for shelter in a dangerous world.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b><a href="https://www.panmacmillan.com/authors/helen-oyeyemi/gingerbread/9781447299417"><i>Gingerbread</i> by Helen Oyeyemi (March 2019)</a></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Influenced by the mysterious place gingerbread holds in classic children’s stories – equal parts wholesome and uncanny; from the tantalising witch’s house in Hansel and Gretel to the man-shaped confection who one day decides to run as fast as he can – beloved novelist Helen Oyeyemi invites readers into a delightful tale of a surprising family legacy, in which the inheritance is a recipe.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Perdita Lee may appear your average British schoolgirl; Harriet Lee may seem just a working mother trying to penetrate the school social hierarchy; but there are signs that they might not be as normal as they think they are. For one thing, they share a gold-painted, seventh-floor flat with some surprisingly verbal vegetation. And then there’s the gingerbread they make. Londoners may find themselves able to take or leave it, but it’s very popular in Druhástrana, the far-away (and, according to Wikipedia, non-existent) land of Harriet Lee’s early youth. In fact, the world’s truest lover of the Lee family gingerbread is Harriet’s charismatic childhood friend, Gretel Kercheval – a figure who seems to have had a hand in everything (good or bad) that has happened to Harriet since they met.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Years later, when teenaged Perdita sets out to find her mother’s long-lost friend, it prompts a new telling of Harriet’s story, as well as a reunion or two. As the book follows the Lees through encounters with jealousy, ambition, family grudges, work, wealth, and real estate, gingerbread seems to be the one thing that reliably holds a constant value. Endlessly surprising and satisfying, written with Helen Oyeyemi’s inimitable style and imagination, Gingerbread is a true feast for the reader.</span></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><a href="https://www.penguin.co.uk/books/1111103/the-old-drift/9781781090497.html"><span style="font-size: small;"><i>The Old Drift </i>by Namwali Serpell (March 2019)</span></a></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">An electrifying debut from the winner of the 2015 Caine Prize for African writing.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">On the banks of the Zambezi River, a few miles from the majestic Victoria Falls, there was once a colonial settlement called The Old Drift. Here begins the epic story of a small African nation, told by a mysterious swarm-like chorus that calls itself man’s greatest nemesis. The tale? A playful panorama of history, fairytale, romance and science fiction. The moral? To err is human.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">In 1904, in a smoky room at the hotel across the river, an Old Drifter named Percy M. Clark, foggy with fever, makes a mistake that entangles the fates of an Italian hotelier and an African busboy. This sets off a cycle of unwitting retribution between three Zambian families (black, white, brown) as they collide and converge over the course of the century, into the present and beyond. As the generations pass, their lives – their triumphs, errors, losses and hopes – form a symphony about what it means to be human.<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">From a woman covered with hair and another plagued with endless tears, to forbidden love affairs and fiery political ones, to homegrown technological marvels like Afronauts, microdrones and viral vaccines – this gripping, unforgettable novel sweeps over the years and the globe, subverting expectations along the way. Exploding with color and energy, The Old Drift is a testament to our yearning to create and cross borders, and a meditation on the slow, grand passage of time.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b><a href="https://www.penguin.co.uk/authors/21928/bernardine-evaristo.html"><i>Girl, Woman, Other </i>by Bernardine Evaristo (May 2019)</a></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Girl, Woman, Other</i> follows the lives and struggles of twelve very different characters. Mostly women, black and British, they tell the stories of their families, friends and lovers, across the country and through the years.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Joyfully polyphonic and vibrantly contemporary, this is a gloriously new kind of history, a novel of our times: celebratory, ever-dynamic and utterly irresistible.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">In addition, there are books are coming out in 2019, but still waiting on covers and for some the exact publication date.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Irenosen Okojie has a short story collection, <i>Nudibranch</i>, to be published in November 2019 with Dialogue Books (and a novel, <i>Curandera</i>, which will follow in spring 2020). As reported in <a href="https://www.thebookseller.com/news/dialogue-books-signs-fearless-and-inspiring-irenosen-okojie-824006" style="font-weight: bold;">the Bookseller</a> earlier this year,<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>'Nudibranch' is Irenosen Okojie’s second collection of short stories, which focuses on "offbeat characters caught up in extraordinary situations". Such characters include a mysterious woman of the sea in search of love, who arrives on an island inhabited by eunuchs; dimensional-hopping monks, who, navigating a season of silence face a bloody reckoning in the ruins of an abbey; and an aspiring journalist returning from a failed excursion in Sydney who becomes what she eats. A darker, Orwellian future is also imagined where oddly detached children arrive in cycles and prove to be dangerous in unfamiliar surroundings.</i></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">There’s also <b><a href="http://www.pontas-agency.com/books/victoria-princewill/in-the-palace-of-flowers/"><i>In The Palace of Flowers </i>by Victoria Princewill</a>,</b> which will be published by Cassava Republic; </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Set in Iran at the end of the 19th Century in the Persian royal court of the Qajars, 'In The Palace of Flowers' is an atmospheric debut in the tradition of Kamila Shamsie, Laila Lalami, Jessie Burton and Elif Shafak.</i></span> </blockquote>
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<i style="font-family: Arial, Helvetica, sans-serif;">Jamila, an African slave, stands at the funeral of a Persian nobleman, watching the rites with empty eyes. In that very particular moment, she realises that her life will never be acknowledged or mourned with the same significance. The fear of being forgotten, of being irrelevant, sets her and Abimelech, a fellow Abyssinian slave and a eunuch, on a path to find meaning, navigating the dangerous and deadly politics of the royal court, both in the government and the harem, before leading her to the radicals that lie beyond its walls.</i> </blockquote>
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<i style="font-family: Arial, Helvetica, sans-serif;">Love, friendship and the bitter politics within the harem, the court and the Shah’s sons and advisors will define the fate of these two Abyssinian slaves.</i> </blockquote>
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<i style="font-family: Arial, Helvetica, sans-serif;">Enchanting and page-turning, 'In The Palace of Flowers' is a magnificent debut about the fear of being forgotten.</i></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Jennifer Nansubuga Makumbi will also be releasing her first full story collection, <b><i><a href="https://jennifermakumbi.net/">Manchester Happened</a></i></b>, by Oneworld in May 2019 (called <i>Let’s Tell this Story Properly</i> in the US and will be published by Transit in July 2019). Also look out for <i><b>Out of Darkness, Shining Light</b> </i>by Petina Gappah “about the last days of Scottish explorer and missionary, David Livingstone, as well as the journey of his body from Zambia back to England".</span></div>
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bookshyhttp://www.blogger.com/profile/02253511929038286254noreply@blogger.com