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To define Nigeria is to tell a half-truth. Many have tried, but most have concluded that it is impossible to capture the true scope and significance of Africa’s most populous nation through words or images.
LONGLISTED FOR THE NATIONAL BOOK AWARD “Nothing short of magic.” —Elizabeth Acevedo, New York Times bestselling author of The Poet X From the acclaimed poet featured on Forbes Africa’s “30 Under 30” list, this powerful novel-in-verse captures one girl, caught between cultures, on an unexpected journey to face the ephemeral girl she might have been. Woven through with moments of lyrical beauty, this is a tender meditation on family, belonging, and home. my mother meant to name me for her favorite flower its sweetness garlands made for pretty girls i imagine her yasmeen bright & alive & i ache to have been born her instead Nima wishes she were someone else. She doesn’t feel understood by her mother, who grew up in a different land. She doesn’t feel accepted in her suburban town; yet somehow, she isn't different enough to belong elsewhere. Her best friend, Haitham, is the only person with whom she can truly be herself. Until she can't, and suddenly her only refuge is gone. As the ground is pulled out from under her, Nima must grapple with the phantom of a life not chosen—the name her parents meant to give her at birth—Yasmeen. But that other name, that other girl, might be more real than Nima knows. And the life Nima wishes were someone else's. . . is one she will need to fight for with a fierceness she never knew she possessed.
To define Nigeria is to tell a half-truth. Many have tried, but most have concluded that it is impossible to capture the true scope and significance of Africa’s most populous nation through words or images.
"Part treatise, part memoir, part call to action, Tell Me How It Ends inspires not through a stiff stance of authority, but with the curiosity and humility Luiselli has long since established." —Annalia Luna, Brazos Bookstore "Valeria Luiselli's extended essay on her volunteer work translating for child immigrants confronts with compassion and honesty the problem of the North American refugee crisis. It's a rare thing: a book everyone should read." —Stephen Sparks, Point Reyes Books "Tell Me How It Ends evokes empathy as it educates. It is a vital contribution to the body of post-Trump work being published in early 2017." —Katharine Solheim, Unabridged Books "While this essay is brilliant for exactly what it depicts, it helps open larger questions, which we're ever more on the precipice of now, of where all of this will go, how all of this might end. Is this a story, or is this beyond a story? Valeria Luiselli is one of those brave and eloquent enough to help us see." —Rick Simonson, Elliott Bay Book Company "Appealing to the language of the United States' fraught immigration policy, Luiselli exposes the cracks in this foundation. Herself an immigrant, she highlights the human cost of its brokenness, as well as the hope that it (rather than walls) might be rebuilt." —Brad Johnson, Diesel Bookstore "The bureaucratic labyrinth of immigration, the dangers of searching for a better life, all of this and more is contained in this brief and profound work. Tell Me How It Ends is not just relevant, it's essential." —Mark Haber, Brazos Bookstore "Humane yet often horrifying, Tell Me How It Ends offers a compelling, intimate look at a continuing crisis—and its ongoing cost in an age of increasing urgency." —Jeremy Garber, Powell's Books
Winner of the National Book Critics Circle Award for Criticism Winner of the Graywolf Press Nonfiction Prize A frank and fascinating exploration of race and racial identity Notes from No Man's Land: American Essays begins with a series of lynchings and ends with a series of apologies. Eula Biss explores race in America and her response to the topic is informed by the experiences chronicled in these essays -- teaching in a Harlem school on the morning of 9/11, reporting for an African American newspaper in San Diego, watching the aftermath of Katrina from a college town in Iowa, and settling in Chicago's most diverse neighborhood. As Biss moves across the country from New York to California to the Midwest, her essays move across time from biblical Babylon to the freedman's schools of Reconstruction to a Jim Crow mining town to post-war white flight. She brings an eclectic education to the page, drawing variously on the Eagles, Laura Ingalls Wilder, James Baldwin, Alexander Graham Bell, Joan Didion, religious pamphlets, and reality television shows. These spare, sometimes lyric essays explore the legacy of race in America, artfully revealing in intimate detail how families, schools, and neighborhoods participate in preserving racial privilege. Faced with a disturbing past and an unsettling present, Biss still remains hopeful about the possibilities of American diversity, "not the sun-shininess of it, or the quota-making politics of it, but the real complexity of it."
Winner of a Betty Trask Award Shortlisted for the Dylan Thomas Prize and the Commonwealth Book Prize Longlisted for the Desmond Elliot Prize The Spider King's Daughter is a modern-day Romeo and Juliet set against the backdrop of a changing Lagos, a city torn between tradition and modernity, corruption and truth, love and family loyalty. Seventeen-year-old Abike Johnson is the favourite child of her wealthy father. She lives in a She lives in a sprawling mansion in Lagos, protected by armed guards and ferried everywhere in a huge black jeep. But being her father's favourite comes with uncomfortable duties, and she is often lonely behind the high walls of her house. A world away from Abike's mansion, in the city's slums, lives a seventeen-year-old hawker struggling to make sense of the world. His family lost everything after his father's death and now he runs after cars on the roadside selling ice cream to support his mother and sister. When Abike buys ice cream from the hawker one day, they strike up an unlikely and tentative romance, defying the prejudices of Nigerian society. But as they grow closer, revelations from the past threaten their relationship and both Abike and the hawker must decide where their loyalties lie.
*A Publishers Weekly Best Book of 2018* *A Bustle Best Nonfiction Book of 2018* *One of Chicago Tribune's Favorite Books by Women in 2018* *A Self Best Book of 2018 to Buy for the Bookworm in Your Life* By the acclaimed critic, memoirist, and advice columnist behind the popular "Ask Polly," an impassioned collection tackling our obsession with self-improvement and urging readers to embrace the imperfections of the everyday Heather Havrilesky's writing has been called "whip-smart and profanely funny" (Entertainment Weekly) and "required reading for all humans" (Celeste Ng). In her work for New York, The Baffler, The New York Times Magazine, and The Atlantic, as well as in "Ask Polly," her advice column for The Cut, she dispenses a singular, cutting wisdom--an ability to inspire, provoke, and put a name to our most insidious cultural delusions. What If This Were Enough? is a mantra and a clarion call. In its chapters--many of them original to the book, others expanded from their initial publication--Havrilesky takes on those cultural forces that shape us. We've convinced ourselves, she says, that salvation can be delivered only in the form of new products, new technologies, new lifestyles. From the allure of materialism to our misunderstandings of romance and success, Havrilesky deconstructs some of the most poisonous and misleading messages we ingest today, all the while suggesting new ways to navigate our increasingly bewildering world. Through her incisive and witty inquiries, Havrilesky urges us to reject the pursuit of a shiny, shallow future that will never come. These timely, provocative, and often hilarious essays suggest an embrace of the flawed, a connection with what already is, who we already are, what we already have. She asks us to consider: What if this were enough? Our salvation, Havrilesky says, can be found right here, right now, in this imperfect moment.
In (Not that You Asked), Steve Almond documents a life spent brawling with the idiot kings of modern culture. He squares off against Sean Hannity on national TV, takes on Oprah Winfrey, nearly gets kidnapped by a reality TV crew, and winds up in Boston, where he quickly enrages the entire population of Red Sox Nation. Amid the carnage, he finds time to celebrate his literary hero, the late Kurt Vonnegut. These are essays the Los Angeles Times has called “rich, fearless [and] cutting.” Praise for (Not that You Asked) “Refreshingly irreverent . . . absurdly funny.” –The Boston Globe “[Almond] scores big in every chapter of this must-have collection. Biting humor, honesty, smarts and heart: Vonnegut himself would have been proud.” –Kirkus Reviews (starred review) “Taunting, revealing, irreverent, and earnest.” –The New York Times “Steve Almond has created a distinctive voice and literary persona. Pleasure-obsessed, self-deprecating, horny, hilarious and always dedicated to parsing the messy terrain of the human heart.” –Forward.com
From the globally acclaimed, best-selling novelist and author of We Should All Be Feminists, a timely and deeply personal account of the loss of her father: “With raw eloquence, Notes on Grief … captures the bewildering messiness of loss in a society that requires serenity, when you’d rather just scream. Grief is impolite ... Adichie’s words put welcome, authentic voice to this most universal of emotions, which is also one of the most universally avoided” (The Washington Post). Notes on Grief is an exquisite work of meditation, remembrance, and hope, written in the wake of Chimamanda Ngozi Adichie's beloved father’s death in the summer of 2020. As the COVID-19 pandemic raged around the world, and kept Adichie and her family members separated from one another, her father succumbed unexpectedly to complications of kidney failure. Expanding on her original New Yorker piece, Adichie shares how this loss shook her to her core. She writes about being one of the millions of people grieving this year; about the familial and cultural dimensions of grief and also about the loneliness and anger that are unavoidable in it. With signature precision of language, and glittering, devastating detail on the page—and never without touches of rich, honest humor—Adichie weaves together her own experience of her father’s death with threads of his life story, from his remarkable survival during the Biafran war, through a long career as a statistics professor, into the days of the pandemic in which he’d stay connected with his children and grandchildren over video chat from the family home in Abba, Nigeria. In the compact format of We Should All Be Feminists and Dear Ijeawele, Adichie delivers a gem of a book—a book that fundamentally connects us to one another as it probes one of the most universal human experiences. Notes on Grief is a book for this moment—a work readers will treasure and share now more than ever—and yet will prove durable and timeless, an indispensable addition to Adichie's canon.
For the characters we meet in Toni Jensen's stories, the past is very much the present. Theirs are American Indian lives off the reservation, lives lived beyond the usual boundaries set for American Indian characters: migratory, often overlooked, yet carrying tradition with them into a future of difference and possibility.