Ben Gracik is a troubled man, barely coping with life as he struggles to make sense of the death of his young daughter. It was accidental, yes, but the overwhelming guilt combined with his wife's absence makes it almost impossible for Ben to be a father to his two surviving children. Following his wife's untimely exit, Ben wrestles with unspeakable sorrow and anger-feelings that ultimately drive him to begin searching for her whereabouts. Thus begins a journey that forces him to face his painful past, a dismal present, and an uncertain future. He meets up with several people along the way-an anxious single mother, a kindly old man, an odd cemetery caretaker-all of which who play a part in the bigger picture. Finding truth and healing will take deep soul searching and a profound faith that Ben scarcely believes in. Will he finally come to understand the meaning of it all?

A REESE WITHERSPOON BOOK CLUB PICK A BBC 2 BETWEEN THE COVERS BOOK CLUB PICK SHORTLISTED FOR THE WOMEN'S PRIZE FOR FICTION FUTURES PRIZE AN AMAZON BEST BOOK OF THE YEAR 'A captivating story about a mixed-race British woman who goes in search of the West African father she never knew' REESE WITHERSPOON Anna is at a stage of her life when she's beginning to wonder who she really is. She has separated from her husband, her daughter is all grown up, and her mother - the only parent who raised her - is dead. Searching through her mother's belongings, she finds clues about the West African father she never knew. Through reading his student diary, chronicling his involvement in radical politics in 1970s London, she discovers that he eventually became the president (some would say the dictator) of a small nation in West Africa - and he is still alive. She decides to track him down and so begins a funny, painful, fascinating journey, and an exploration of race, identity and what we pass on to our children. 'A real pleasure, it's funny, thought-provoking and holds a light up to everything from cultural differences to colonialism' STYLIST 'I LOVED Sankofa SO MUCH' MARIAN KEYES 'Slick pacing and unpredictable developments keep the reader alert right up to the novel's exhilarating ending' GUARDIAN BOOK OF THE DAY 'Onuzo's sneakily breezy, highly entertaining novel leaves the reader rethinking familiar narratives of colonisation, inheritance and liberation' NEW YORK TIMES BOOK REVIEW 'A really great book, very poignant' SARA COX

SHORTLISTED FOR THE CHILDREN'S SPORTS BOOK OF THE YEAR 2022 The first book in THE DREAM TEAM series. 'Exciting, original and heart-warming' - Jacqueline Wilson 'Priscilla Mante is an author to watch' - Aisha Bushby --- A relatable, inclusive story about families, unlikely friendships and girl power. Perfect for fans of Ella on the Outside and Jacqueline Wilson. Olá! I'm Jasmina Santos-Campbell (but you can call me Jaz). You've probably heard of me and my football team the Bramrock Stars before. No? Well, you will soon because we're almost famous! Forming the Stars was my genius idea - you see I need to prove to Mãe (that's my mum!) that I'm a football star so she'll want to come back home. The idea was the easy part, though. Now I've got a team of seven very different girls and we need to work together, to be taken seriously as footballers. We are the DREAM TEAM and we're going to show the world that girls CAN play football!

Focusing on the work of contemporary African women researchers, this volume explores feminist perspectives in relation to African Indigenous Religions (AIR). It evaluates what the Circle of Concerned African Women Theologians’ research has achieved and proposed since its launch in 1989, their contribution to the world of knowledge and liberation, and the potential application to nurturing a justice-oriented world. The book considers the methodologies used amongst the Circle to study African Indigenous Religions, the AIR sources of knowledge that are drawn on, and the way in which women are characterized. It reflects on how ideas drawn from African Indigenous Religions might address issues of patriarchy, colonialism, capitalism, racism, tribalism, and sexual and disability-based discrimination. The chapters examine theologies of specific figures. The book will be of interest to scholars of religion, gender studies, Indigenous studies, and African studies.

The heartbreaking story of five generations of young people from a single African-and-American family pursuing an elusive dream of freedom. "Gut wrenching and incredible.”— Sabaa Tahir #1 New York Times bestselling author of An Ember in the Ashes "This novel is a remarkable achievement."—Kelly Barnhill, New York Times bestselling author and Newbery medalist "Beautifully epic."—Ibi Zoboi, author American Street and National Book Award finalist Dream Country begins in suburban Minneapolis at the moment when seventeen-year-old Kollie Flomo begins to crack under the strain of his life as a Liberian refugee. He's exhausted by being at once too black and not black enough for his African American peers and worn down by the expectations of his own Liberian family and community. When his frustration finally spills into violence and his parents send him back to Monrovia to reform school, the story shifts. Like Kollie, readers travel back to Liberia, but also back in time, to the early twentieth century and the point of view of Togar Somah, an eighteen-year-old indigenous Liberian on the run from government militias that would force him to work the plantations of the Congo people, descendants of the African American slaves who colonized Liberia almost a century earlier. When Togar's section draws to a shocking close, the novel jumps again, back to America in 1827, to the children of Yasmine Wright, who leave a Virginia plantation with their mother for Liberia, where they're promised freedom and a chance at self-determination by the American Colonization Society. The Wrights begin their section by fleeing the whip and by its close, they are then the ones who wield it. With each new section, the novel uncovers fresh hope and resonating heartbreak, all based on historical fact. In Dream Country, Shannon Gibney spins a riveting tale of the nightmarish spiral of death and exile connecting America and Africa, and of how one determined young dreamer tries to break free and gain control of her destiny.

This expanded edition of Tight Spaces includes six new essays that explore the fulfilling spaces inhabited by Kesho Scott, Cherry Muhanji, and Egyirba High since their book was originally published in 1987. Tight Spaces won the American Book Award in 1988.

When Bintou, a little girl living in West Africa, finally gets her wish for braids, she discovers that what she dreamed for has been hers all along.

Wanda Burch dreamt that she would die at a certain age; her dreams foretold her diagnosis of cancer, and they guided her toward treatment and wellness. Although she took advantage of all the medical resources available to her, Wanda believes she is alive today because of her intimate engagement with the dreamworld. This book is more than one woman's story, however. Wanda provides techniques such as questioning the dream and observing the surroundings of the dream to delve into the meaning behind the personal stories we tell ourselves in sleep. Through powerful prose and practical exercises, this book demonstrates that wisdom lives within each of us, and we can tap into that wisdom through dreamwork.

We need spontaneous road trips. We would do well to have the agendas, routines, and plans stripped away from time to time so we can discover. Discovery is important. It is energy, inertia, and propulsion for the soul in a world that has become accustomed with fast food, microwaves, and the express lane. This does not mean we need to live willy-nilly, haphazard, and operating from the seat of our pants, but every now and then it breathes new life.

Lucia Saks uses South African cinema as a lens through which to view cultural changes resulting from the end of apartheid in 1994. She examines how media transformed the meaning of race and nation during this period and argues that, as apartheid was disbanded and new racial constructs allowed, South Africa quickly sought a new mode of representation as a way to distance itself from the violence and racism of the half-century prior, as well as to demonstrate stability amid social disruption. This rapid search for a new way to identify and portray itself is what Saks refers to as the race for representation. She contextualizes this race in terms of South African history, the media, apartheid, sexuality, the economy, community, early South African cinema, and finally speculates about the future of "counter-cinema" in present-day South Africa.