Longlisted for the 2021 International Booker Prize 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.”

Engaging questions of language, identity, and reception to restore South African and diaspora writing to the African literary tradition

The New York Times bestselling author of Bird Box returns with a supernatural thriller of love, redemption, and murder. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NEWSWEEK “This one haunts you for reasons you can’t quite put your finger on. . . . [Josh Malerman] defies categories and comparisons with other writers.”—Kirkus Reviews Carol Evers is a woman with a dark secret. She has died many times . . . but her many deaths are not final: They are comas, a waking slumber indistinguishable from death, each lasting days. Only two people know of Carol’s eerie condition. One is her husband, Dwight, who married Carol for her fortune, and—when she lapses into another coma—plots to seize it by proclaiming her dead and quickly burying her . . . alive. The other is her lost love, the infamous outlaw James Moxie. When word of Carol’s dreadful fate reaches him, Moxie rides the Trail again to save his beloved from an early, unnatural grave. And all the while, awake and aware, Carol fights to free herself from the crippling darkness that binds her—summoning her own fierce will to survive. As the players in this drama of life and death fight to decide her fate, Carol must in the end battle to save herself. The haunting story of a woman literally bringing herself back from the dead, Unbury Carol is a twisted take on the Sleeping Beauty fairy tale that will stay with you long after you’ve turned the final page. Praise for Unbury Carol “Fantastically clever. A breakneck ride to save a life already lost, proving sometimes death is only the beginning.”—J. D. Barker, internationally bestselling author of The Fourth Monkey “Breathtaking and menacing . . . an intricately plotted, lyrical page-turner about love, betrayal, revenge, and the primal fear of being buried alive.”—Booklist (starred review) “Unbury Carol is a Poe story set in the weird West we all carry inside us, and it not only hits the ground running, it digs into that ground, too. About six wonderful feet.”—Stephen Graham Jones, author of Mongrels “Bleakly lyrical à la Cormac McCarthy and Flannery O’Connor.”—Library Journal (starred review) “With vivid prose and characters that leap off the page, guns a-blazing, Unbury Carol creates its own lingering legend, dragging you along like an obstinate horse toward a righteous storm of an ending.”—Delilah S. Dawson, New York Times bestselling author of Star Wars: Phasma

Written as a tribute to family, place, and bodily awareness, Mukoma Wa Ngugi's poems speak of love, war, violence, language, immigration, and exile. From a baby girl's penchant for her parents' keys to a warrior's hunt for words, Wa Ngugi's poems move back and forth between the personal and the political. In the frozen tundra of Wisconsin, the biting winds of Boston, and the heat of Nairobi, Wa Ngugi is always mindful of his physical experience of the environment. Ultimately it is among multiple homes, nations, and identities that he finds an uneasy peace.

"Mukoma wa Ngugi's Conversing with Africa is a wide-ranging investigation of Africa's dilemmas and his analysis is bleak; 'abject poverty, despotism, coups, ethnic cleansings--all under the rubric of neo-colonialism, all structured under the debilitating conditions of the World Bank and the IMF--continue to ravage the continent.' He argues for [the] imperative need for action [and] for Africans to become their own agents of change, proposing nothing less than a Pan-African solution to the ills of the continent. [New Internationalist July 2004 review].

‘Solace + Yearning’ layers landscape, poetry, eco-art and contemporary dance to create an immersive space for many voices: yearning to connect to country, grief for what is absent, and reaching towards an understanding of indigenous language and culture. “Along the edges, voices call softly, softly... the past speaking to the present.”' This multi-arts collaboration explores ‘settler guilt’ and ‘solastalgia’—a sense of loss caused by environmental change—in a small rural community. The work unravels contradictory and complicated feelings about Australia’s stories, the assumed advantage of non-indigenous Australians, and yet our deep longing for the wisdom and connection intrinsic in indigenous cultures. “It is beneath the bark where stories are whispered and life rises to stitch together this river with this sky.” Performed in Denmark, Western Australia in 2012, and again as a solo performance by Annette Carmichael in 2014, these images and reflections portray a complex relationship between people and place. “Sometimes, sometimes I make the mistake of thinking that what has not been written down has been forgotten.” With gratitude to Joey Williams, Wayne Webb, Toni Webb, and Harley Coyne, who walked the trail with us and generously shared their Noongar culture and stories.

Reproduction of the original: The Black Eagle by George Payne Rainsford James