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“The definitive African book of the twentieth century” (Moses Isegawa, from the Introduction) by the Nobel Prize–nominated Kenyan writer The puzzling murder of three African directors of a foreign-owned brewery sets the scene for this fervent, hard-hitting novel about disillusionment in independent Kenya. A deceptively simple tale, Petals of Blood is on the surface a suspenseful investigation of a spectacular triple murder in upcountry Kenya. Yet as the intertwined stories of the four suspects unfold, a devastating picture emerges of a modern third-world nation whose frustrated people feel their leaders have failed them time after time. First published in 1977, this novel was so explosive that its author was imprisoned without charges by the Kenyan government. His incarceration was so shocking that newspapers around the world called attention to the case, and protests were raised by human-rights groups, scholars, and writers, including James Baldwin, Toni Morrison, Donald Barthelme, Harold Pinter, and Margaret Drabble.
A dazzling, genre-defying novel in verse from the author Delia Owens says “tackles the absurdities, injustices, and corruption of a continent” Ngũgĩ wa Thiong’o’s novels and memoirs have received glowing praise from the likes of President Barack Obama, the New Yorker, the New York Times Book Review, The Guardian, and NPR; he has been a finalist for the Man International Booker Prize and is annually tipped to win the Nobel Prize for Literature; and his books have sold tens of thousands of copies around the world. In his first attempt at the epic form, Ngũgĩ tells the story of the founding of the Gĩkũyũ people of Kenya, from a strongly feminist perspective. A verse narrative, blending folklore, mythology, adventure, and allegory, The Perfect Nine chronicles the efforts the Gĩkũyũ founders make to find partners for their ten beautiful daughters—called “The Perfect Nine” —and the challenges they set for the 99 suitors who seek their hands in marriage. The epic has all the elements of adventure, with suspense, danger, humor, and sacrifice. Ngũgĩ’s epic is a quest for the beautiful as an ideal of living, as the motive force behind migrations of African peoples. He notes, “The epic came to me one night as a revelation of ideals of quest, courage, perseverance, unity, family; and the sense of the divine, in human struggles with nature and nurture.”
Survey of twentieth century English-language writers and writing from around the world, celebrating all major genres, with entries on literary movements, periodicals, more than 400 individual works, and articles on approximately 2,400 authors.
"Two small boys stand on a rubbish heap and look into the future. One boy is excited, he is beginning school; the other, his brother, is an apprentice carpetner. Together, they will serve their country--the teacher and the craftsman. But this is Kenya and times are against them. In the forests, the Mau Mau are waging war against the white government, and two brothers, Njoroge and Kamau, and the rest of their family, need to decide where their loyalties lie. For the practical man, the choice is simple, but for Njoroge, the scholar, the dream of progress through learning is a hard one to give up"--P. [4] of cover.
Born in 1938 in rural Kenya, Ngũgĩ wa Thiong’o came of age in the shadow of World War II, amidst the terrible bloodshed in the war between the Mau Mau and the British. The son of a man whose four wives bore him more than a score of children, young Ngũgĩ displayed what was then considered a bizarre thirst for learning, yet it was unimaginable that he would grow up to become a world-renowned novelist, playwright, and critic. In Dreams in a Time of War, Ngũgĩ deftly etches a bygone era, bearing witness to the social and political vicissitudes of life under colonialism and war. Speaking to the human right to dream even in the worst of times, this rich memoir of an African childhood abounds in delicate and powerful subtleties and complexities that are movingly told.
A New York Times Editors’ Choice "A welcome addition to the vast literature produced by jailed writers across the centuries . . . [a] thrilling testament to the human spirit." —Ariel Dorfman, The New York Times Book Review "Wrestling with the Devil is a powerful testament to the courage of Ngũgĩ and his fellow prisoners and validation of the hope that an independent Kenya would eventually emerge." —Minneapolis Star Tribune "The Ngũgĩ of Wrestling with the Devil called not just for adding a bit of color to the canon’s sagging shelf, but for abolition and upheaval." —Bookforum An unforgettable chronicle of the year the brilliant novelist and memoirist, long favored for the Nobel Prize, was thrown in a Kenyan jail without charge Wrestling with the Devil, Ngũgĩ wa Thiong'o's powerful prison memoir, begins literally half an hour before his release on December 12, 1978. In one extended flashback he recalls the night, a year earlier, when armed police pulled him from his home and jailed him in Kenya's Kamĩtĩ Maximum Security Prison, one of the largest in Africa. There, he lives in a prison block with eighteen other political prisoners, quarantined from the general prison population. In a conscious effort to fight back the humiliation and the intended degradation of the spirit, Ngũgĩ—the world-renowned author of Weep Not, Child; Petals of Blood; and Wizard of the Crow—decides to write a novel on toilet paper, the only paper to which he has access, a book that will become his classic, Devil on the Cross. Written in the early 1980s and never before published in America, Wrestling with the Devil is Ngũgĩ's account of the drama and the challenges of writing the novel under twenty-four-hour surveillance. He captures not only the excruciating pain that comes from being cut off from his wife and children, but also the spirit of defiance that defines hope. Ultimately, Wrestling with the Devil is a testimony to the power of imagination to help humans break free of confinement, which is truly the story of all art.
On the heels of the successful Lifetime TV version of Flowers in the Attic comes the TV movie tie-in edition of Petals On the Wind, the second book in the captivating Dollanganger saga. Forbidden love comes into full bloom. For three years they were kept hidden in the eaves of Foxworth Hall, their existence all but denied by a mother who schemed to inherit a fortune. For three years their fate was in the hands of their righteous, merciless grandmother. They had to stay strong...but in their hopeless world, Cathy and her brother Christopher discovered blossoming desires that tumbled into a powerful obsession. Now, with their frail sister Carrie, they have broken free and scraped enough together for three bus tickets and a chance at a new life. The horrors of the attic are behind them...but they will carry its legacy of dark secrets forever.
Kenyan-born novelist and playwright Ngugi wa Thiong’o and his collaborator, Micere Githae Mugo, have built a powerful and challenging play out of the circumstances surrounding the 1956 trial of Dedan Kimathi, the celebrated Kenyan hero who led the Mau Mau rebellion against the British colonial regime in Kenya and was eventually hanged. A highly controversial character, Kimathi’s life has been subject to intense propaganda by both the British government, who saw him as a vicious terrorist, and Kenyan nationalists, who viewed him as a man of great courage and commitment. Writing in the 1970s, the playwrights’ response to colonialist writings about the Mau Mau movement in The Trial of Dedan Kimathi is to sing the praises of the deeds of this hero of the resistance who refused to surrender to British imperialism. It is not a reproduction of the farcical “trial” at Nyeri. Rather, according to the preface, it is “an imaginative recreation and interpretation of the collective will of the Kenyan peasants and workers in their refusal to break under sixty years of colonial torture and ruthless oppression by the British ruling classes and their continued determination to resist exploitation,oppression and new forms of enslavement.”