Friendship, deceit, fear, and persecution at an elite boarding school for young women in Rwanda, fifteen years before the 1994 genocide of the Tutsi . . . “Mukasonga’s masterpiece” (Julian Lucas, NYRB) Scholastique Mukasonga drops us into an elite Catholic boarding school for young women perched on the edge of the Nile. Parents send their daughters to Our Lady of the Nile to be molded into respectable citizens and to escape the dangers of the outside world. Fifteen years prior to the 1994 Rwandan genocide, we watch as these girls try on their parents’ preconceptions and attitudes, transforming the lycée into a microcosm of the country’s mounting racial tensions and violence. In the midst of the interminable rainy season, everything unfolds behind the closed doors of the school: friendship, curiosity, fear, deceit, prejudice, and persecution. With masterful prose that is at once subtle and penetrating, Mukasonga captures a society hurtling towards horror.

LONGLISTED FOR THE NATIONAL BOOK AWARD FOR TRANSLATED LITERATURE A moving, unforgettable tribute to a Tutsi woman who did everything to protect her children from the Rwandan genocide, by the daughter who refuses to let her family's story be forgotten. The story of the author's mother, a fierce, loving woman who for years protected her family from the violence encroaching upon them in pre-genocide Rwanda. Recording her memories of their life together in spare, wrenching prose, Mukasonga preserves her mother's voice in a haunting work of art.

Mukasonga unsparingly resurrects the horrors of the Rwandan geocide while lyrically recording the quieter moments of daily life with her family—a moving tribute to all those who are displaced, who suffer. Mukasonga’s extraordinary, lyrical, and heartbreaking book … is indispensable reading for anyone who cares about the endurance of the human spirit and who hopes for a better world. — Lynne Sharon Schwartz, Los Angeles Review of Books Scholastique Mukasonga’s Cockroaches is a compelling chronicle of the author’s childhood in the years leading up to the 1994 Rwandan genocide. In a spare and penetrating tone, Mukasonga brings to life the scenes of her family’s forced displacement from Rwanda to neighboring Burundi. With a view made lucid through time and pain, Mukasonga erodes the distance between her present and her past, resurrecting and paying homage to her family members who were massacred in the genocide, but also, in movingly simple language, the beauty present in quiet, daily moments with her loved ones. As lyrical as it is tragic, Cockroaches is Mukasonga’s tribute to her family’s suffering and to the lingering grip of the dead on the living.

The stories in Igifu summon phantom memories of Rwanda and radiate with the fierce ache of a survivor. From the National Book Award finalist who Zadie Smith says, "rescues a million souls from the collective noun genocide." Scholastique Mukasonga's autobiographical stories rend a glorious Rwanda from the obliterating force of recent history, conjuring the noble cows of her home or the dew-swollen grass they graze on. In the title story, five-year-old Colomba tells of a merciless overlord, hunger or igifu, gnawing away at her belly. She searches for sap at the bud of a flower, scraps of sweet potato at the foot of her parent's bed, or a few grains of sorghum in the floor sweepings. Igifu becomes a dizzying hole in her stomach, a plunging abyss into which she falls. In a desperate act of preservation, Colomba's mother gathers enough sorghum to whip up a nourishing porridge, bringing Colomba back to life. This elixir courses through each story, a balm to soothe the pains of those so ferociously fighting for survival. Her writing eclipses the great gaps of time and memory; in one scene she is a child sitting squat with a jug of sweet, frothy milk and in another she is an exiled teacher, writing down lists of her dead. As in all her work, Scholastique sits up with them, her witty and beaming beloved.

“Weird and wild.” —BookRiot “An effective critique of authoritarianism.” —NPR “Equal parts dystopia, satire, and allegory. —Los Angeles Review of Books Set against the backdrop of a failed political uprising in Egypt, this chilling debut evokes Orwellian dystopia, Kafkaesque surrealism, and a very real vision of life after the Arab Spring. In a surreal, but familiar, vision of modern day Egypt, a centralized authority known as ‘the Gate’ has risen to power in the aftermath of the ‘Disgraceful Events,’ a failed popular uprising. Citizens are required to obtain permission from the Gate in order to take care of even the most basic of their daily affairs, yet the Gate never opens, and the queue in front of it grows longer. Citizens from all walks of life mix and wait in the sun: a revolutionary journalist, a sheikh, a poor woman concerned for her daughter’s health, and even the brother of a security officer killed in clashes with protestors. Among them is Yehia, a man who was shot during the Events and is waiting for permission from the Gate to remove a bullet that remains lodged in his pelvis. Yehia’s health steadily declines, yet at every turn, officials refuse to assist him, actively denying the very existence of the bullet. Ultimately it is Tarek, the principled doctor tending to Yehia’s case, who must decide whether to follow protocol as he has always done, or to disobey the law and risk his career to operate on Yehia and save his life. Written with dark, subtle humor, The Queue describes the sinister nature of authoritarianism, and illuminates the way that absolute authority manipulates information, mobilizes others in service to it, and fails to uphold the rights of even those faithful to it.

From a three-time Newbery Honoree and Edgar Award-winning author comes this compelling story of adventure, romance, and intrigue, set in ancient Egypt.

Imagine Africa and its theme of "Revolution" is introduced by Georges Lory who opens the collection with his essay, "Poets to your quills, Africa is taking off". Through a collage of poems, essays, fiction, and visual art, Imagine Africa gives us a glimpse of a kaleidoscopic contemporary Africa.

In a brilliant homage to Agatha Christie, critically acclaimed author Tasha Alexander sends Lady Emily to Egypt during British colonial rule to investigate a crime that leads back to the era of the Pharaohs. In Secrets of the Nile, Lady Emily and her husband, Colin Hargreaves, have joined his formidable mother on a holiday to visit the exotic treasures of Egypt. Their host, Lord Bertram Deeley, is a renowned amateur British collector of antiquities, who has invited his closest friends on a lavish cruise up the Nile to his home at Luxor. But on the first night of their journey, he suddenly collapses after offering a welcome toast, a victim of the lethal poison cyanide. Who amongst this group of his nearest and dearest would want to kill their generous host? Emily and Colin’s investigation soon reveals that even his closest friends had reasons to want him dead: was it the archeologist whose dig Deeley was poised to fund until he suddenly withdrew support? The powerful politician whose career Deeley had secretly destroyed? The dyspeptic aristocratic English spinster whose hired travelling companion seems determined to protect her employer? Or could it be Mrs. Hargreaves herself, who may have spurned the advances of Lord Deeley when they were both younger? A key clue may lie with several ancient ushabtis, exquisite three-thousand-year-old sculptures that played a role in a hidden story from the time of Ancient Egypt, one of a sister’s unshakeable loyalty to her brother, a tale of betrayal and revenge. In an unforgettable finale, Emily and Colin gather their fellow travelers together to unmask a killer whose motive is as shocking as it is brilliant.

Rosemary Mahoney was determined to take a solo trip down the Egyptian Nile in a small boat, even though civil unrest and vexing local traditions conspired to create obstacles every step of the way. Starting off in the south, she gained the unlikely sympathy and respect of a Muslim sailor, who provided her with both a seven-foot skiff and a window into the culturally and materially impoverished lives of rural Egyptians. Egyptian women don't row on the Nile, and tourists aren't allowed to for safety's sake. Mahoney endures extreme heat during the day, and a terror of crocodiles while alone in her boat at night. Whether she's confronting deeply held beliefs about non-Muslim women, finding connections to past chroniclers of the Nile, or coming to the dramaticm realization that fear can engender unwarranted violence, Rosemary Mahoney's informed curiosity about the world, her glorious prose, and her wit never fail to captivate.