A somewhat regular village girl of exquisite beauty, Ngozi Akachi is haunted by the strange storm that ravages her village on the night of her birth, a story her mother would tell her repeatedly. After suffering various abuses by members of her family, she is sent to Lagos to live with an uncle. Once there she suffers cruelty from her aunt and forges a strange friendship with another girl, Tiffany Okoro, who comes from a different world all together. Embarking on a strange journey that eventually leads to England, she faces many trials until she finds her true voice.
“A stellar cast of award-winning Nigerian authors . . . a must-read for crime lovers looking for something different.”—Brittle Paper In Akashic Books’s acclaimed series of original noir anthologies, each book comprises all new stories set in a distinct neighborhood or location within the respective city. Now, West Africa enters the Noir Series arena, meticulously edited by one of Nigeria’s best-known authors. In Lagos Noir, the stories are set in “a city of more than 21 million and an amazing amalgam of wealth, poverty, corruption, humor, bravery, and tragedy. Abani and a dozen other contributors tell stories that are both unique to Lagos and universal in their humanity . . . This entry stands as one of the strongest recent additions to Akashic’s popular noir series” (Publishers Weekly, starred review, pick of the week). The anthology includes stories by Chris Abani, Nnedi Okorafor, E.C. Osondu, Jude Dibia, Chika Unigwe, A. Igoni Barrett, Sarah Ladipo Manyika, Adebola Rayo, Onyinye Ihezukwu, Uche Okonkwo, Wale Lawal, ’Pemi Aguda, and Leye Adenle. “The beauty of this book, which contains 13 stories from Nigerian writers, is that it serves as a travelogue, too.”—Bloomberg, “The Darkest Summer Reading List for Those Bright, Beachy Days” “With writers like Igoni Barrett, Leye Adenle, and E.C. Osondu contributing, Lagos Noir offers wildly different perspectives on both the city itself and the state of noir fiction. This book is almost like a world in itself, one that you’ll want to dive back into and get lost in again and again.”—CrimeReads, “One of the 10 Best Crime Anthologies of 2018”
“A stellar cast of award-winning Nigerian authors . . . a must-read for crime lovers looking for something different.”—Brittle Paper In Akashic Books’s acclaimed series of original noir anthologies, each book comprises all new stories set in a distinct neighborhood or location within the respective city. Now, West Africa enters the Noir Series arena, meticulously edited by one of Nigeria’s best-known authors. In Lagos Noir, the stories are set in “a city of more than 21 million and an amazing amalgam of wealth, poverty, corruption, humor, bravery, and tragedy. Abani and a dozen other contributors tell stories that are both unique to Lagos and universal in their humanity . . . This entry stands as one of the strongest recent additions to Akashic’s popular noir series” (Publishers Weekly, starred review, pick of the week). The anthology includes stories by Chris Abani, Nnedi Okorafor, E.C. Osondu, Jude Dibia, Chika Unigwe, A. Igoni Barrett, Sarah Ladipo Manyika, Adebola Rayo, Onyinye Ihezukwu, Uche Okonkwo, Wale Lawal, ’Pemi Aguda, and Leye Adenle. “The beauty of this book, which contains 13 stories from Nigerian writers, is that it serves as a travelogue, too.”—Bloomberg, “The Darkest Summer Reading List for Those Bright, Beachy Days” “With writers like Igoni Barrett, Leye Adenle, and E.C. Osondu contributing, Lagos Noir offers wildly different perspectives on both the city itself and the state of noir fiction. This book is almost like a world in itself, one that you’ll want to dive back into and get lost in again and again.”—CrimeReads, “One of the 10 Best Crime Anthologies of 2018”
A somewhat regular village girl of exquisite beauty, Ngozi Akachi is haunted by the strange storm that ravages her village on the night of her birth, a story her mother would tell her repeatedly. After suffering various abuses by members of her family, she is sent to Lagos to live with an uncle. Once there she suffers cruelty from her aunt and forges a strange friendship with another girl, Tiffany Okoro, who comes from a different world all together. Embarking on a strange journey that eventually leads to England, she faces many trials until she finds her true voice.
This book explores in depth Ikpu-ala as a social justice value in the Igbo social justice system. The traditional social justice concept of ikpu-ala provides an important conceptual framework through which adult Igbo Christians can engage in a critical and conscious theological reflections upon how they can make the Igbo Christian community fully authentic and faithful to the Gospel of Jesus Christ. This is a process that will highlight the total transformation of the Igbo society, which began with the arrival of the missionaries in 1885. This reflection is based on the Igbo experience and understanding of Omenala, the Igbo moral code, in which the world of the material and the spiritual, while occupying distinct domains, nonetheless remain deeply intertwined. In this book, the author explores that for the Igbo community, the reality of theology has evolved as a distinct from of experience that is deeply connected with tradition for the sake of praxis (Don Browning, 1995). Consequently, the author not only sees Ikpu-ala as authentic Igbo social justice value but also considers it as something that can be integrated into the Christian social values without either destroying Igbos longstanding cultures or traditions. The author highlights two key lessons from the Igbo integration of ikpu-ala into Christian social justice: (1) that the Igbo Catholic Church should engage the Igbo culture and traditions in a theological interactive reflections for the incarnation of the Word among the Igbo Catholics, and (2) that Ikpu-ala, with its theological values, can assist the Igbo Catholic Church in the sacrament of reconciliation and so transform the twenty- first century Igbo Catholic into an integrated and authentic Christian.
Pacification of the Primitive Tribes of the Lower Niger is a collection that tells the stories of African womanhood and what it is imagined to be. Among the stories are "The Gaps in My Memory," "A Childless Wife," "The Silence of the Gods," "The House Girl," and the title story, "Pacification of the Primitive Tribes of the Lower Niger." With each story, the reader continues to be drawn into the experiences, both feelings and thoughts, of women and girls... Situating the stories within rich context of culture and place enriches the reader's appreciation for the struggles, resilience, and oppression that is experienced on a daily basis by females around the world... In each story, we might wonder about what each character could have done to make a difference. Lemuel Warren Watson Provost professor Senior scientist, the Kinsey Institute "You see, women are not born. They are made. That's how they are made.... You ought to do it," she added as a last latch in her persuasion. --"The Gaps in My Memory" "There is nothing wrong with you," the doctor told me with utter certainty and pushed toward me, across his table, the report of my test.... "I am sure you will be pregnant," he added. I was no longer listening to him. I was right then wondering why I could not get pregnant if there was nothing wrong with me. --"A Childless Wife" "Satan is a liar," the pastor uttered and raised his Bible.... --"The Silence of the Gods" "You have made my day," she said and let me out of her embrace. I knew I felt the same thing I had felt with Anuli. I avoided her eyes so she would not see the joy that radiated on my face. It came as a surprise. --"The House Girl" Fide opened one of the drawers in his library and pulled out a brown folder. It was dusty and wrinkled on the edges and was secured tightly with a rope. He blew on it slowly to ward off the creams of dust. He then looked at what he had written over thirty years ago on the folder: "the Pacification of the Primitive." There was no impression on his face, which was then plain like his bald head. What was rather remarkable was his overall weakness; his hands trembled as he was untying the folder. When he pulled out a ream in it, his hands were also trembling, even as he sifted through the pages. He flipped through the first few pages; there was evidence of hesitations shown through cancellations and ripped pages, then he came to the section the author had entitled "The Evil Forest." On the margin, the author had other narratives that clarified what he was saying about the forest. There was a marginal narrative about egwugwu. Literally, he had unmasked egwugwu, calling it a "heathenish recreation at best" yet "a masculine secret society aimed at hoodwinking the people." --"Pacification of the Primitive Tribes of the Lower Niger
“It’s not a mere claim that Omalugo is an iconic thought and observations carefully expressed in this masterpiece. It is an anticipated, a deliberate, and a focused attempt towards making the reader think and ideologically reason like the human we supposed we are. Remove the humanity in us, we become practically like every other wild animal known to man. ‘Ede’ in Omalugo depicts the like of some born into fragmented and unbargained circumstance, who suffer not because of the fault of theirs but for wickedness in man. ‘Agbomma’ can be literally likened to ordinary beasts, people full of hate, jealousy, and greed, just for the sake of it, tribe that appropriate superiority to themselves. Omalugo is a knowledge-based book, deliberately encrypted to unlock the mental potentials in us. This hall isn’t designed for the lazy mind “for they have eyes but couldn’t see, and ears but couldn’t hear,” (Jeremiah 5:21). Knowledge is a cosmic phenomenon. It transcends sociopolitical, racial, cultural, and religious boundaries. Love, justice, and equity are natural characteristics of God we claim we have. But any spirituality, knowledge, or education that is void of the aforementioned is a mere fantasy. Truth has been chemically adulterated, morphologically mutilated, and etymologically raped or abused. This actuates the unassailable difficulty in understanding who we are amid the ubiquitous. Suffice it to say, the nature is ever willing for the minds that are sincerely willing to know. I wish you understand as you read. Success always knock at the door of those who do ask questions, who do think, and who are willing to be the change so wished.”
This book of readings is designed to accomplish two tasks: to philosophize on Igwebuike and to honour Professor KANU, Ikechukwu Anthony, O.S.A. These two tasks or goals go hand in hand because Igwebuike is Professor Kanu’s philosophy. The book clearly demonstrates why Kanu deserves honour as an African philosopher who has introduced a way of doing African philosophy. It is an approach of doing philosophy that takes into account African ontology and cosmology. Igwebuike as a systematic African thought is exploratory in nature. It investigates issues with a view of seeing how they are related. Doing philosophy in this way takes into account not only the African context but the world as a complex entity with myriads of challenges. The myriads of challenges facing humanity have a representation in this book. For this reason the book is bound to have a global impact. In terms of philosophizing, this book demonstrates that Africa is confronted with many discourses. Discourses that are already going on but need a more systematic African philosophical approach. Some of the discourses are on the environment, governance, infrastructure, human and material resource among others. — Denis Odinga Okiya Maryknoll Insitute of African Studies, Nairobi, Kenya
A box of 18 chocolates; each on carefully made, painstakingly wrapped and methodically packed. Each chocolate with a unique taste, each one representing a different story. In the box, sits a plethora of colours, a myriad of aspirations, a landscape of experiences. A Box of Chocolates is a collection of short stories that transports the reader into the lives of various individuals, trapped in different psycho-social situations, who require serendipity and a touch of the spiritual in order to obtain freedom. It travels across the fields of love, hatred, oppression, corruption, homosexuality, AIDS, rebellion, spiritualism, slavery, migration, life and ultimately death as it seeks to capture in one snapshot the reality of the helplessness of man when confronted with the unpredictable nature of Fate. Borrowing from Shakespeare "All the world is a stage. And all the men and women merely players. They have their exits and entrances; each man in his time plays many parts." This in itself captures the essence of this collection.
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