Disowned is a collection of five short stories told in the first person singular by five fictitious Nigerian women who recount their personal experiences in their own voices. Each character?s personality is revealed in the way she tells her story and the way she lets her experience affect her.
The book addresses socio-cultural issues ranging from Sexual Abuse/Child Molestation, Prostitution, Childlessness, Widowhood, Domestic Violence to Infidelity faced by the Nigerian woman, openly or secretly.

Grant winning creator Helon Habila has been portrayed as “a valiant storyteller with an inflexible vision… a noteworthy ability” (Rawi Hage). His new novel Travellers is a groundbreaking experience with the individuals who have been evacuated by war or yearning, dread or expectation.

A Nigerian alumni understudy who has made his home in America recognizes striking out for new shores. At the point when his significant other suggests that he go with her to Berlin, where she has been granted a renowned expressions association, he has his reservations: “I realized each flight is a passing, every arrival a resurrection. Most changes happen impromptu, and they generally leave a scar.”

In Berlin, Habila’s focal character winds up tossed into contact with a network of African settlers and outcasts whose lives recently appeared to be far off from his own, however, to which he is progressively drawn. The dividers between his favored, secure presence and the narratives of these different Africans moving before long disintegrate, and his feeling of character starts to break up as he finds that he can never again isolate himself from others’ repulsions, or from Africa.

“Been watching you.” He let the smoke out of his mouth as he spoke.
“Judging from the way you guzzled those bottles, i can tell you need a life coach.”
“I can make you rich. Richer than you’ve ever imagined.”

At thirty-nine, Deola Bello, a Nigerian expatriate in London, is dissatisfied with being single and working overseas. Deola works as a financial reviewer for an international charity, and when her job takes her back to Nigeria in time for her father’s five-year memorial service, she finds herself turning her scrutiny inward. In Nigeria, Deola encounters changes in her family and in the urban landscape of her home, and new acquaintances who offer unexpected possibilities. Deola’s journey is as much about evading others’ expectations to get to the heart of her frustration as it is about exposing the differences between foreign images of Africa and the realities of contemporary Nigerian life.

Growing up in middle-class Lagos, Nigeria during the late 1980s and early 1990s, Ihechi forms a band of close friends in his neighborhood. They discover Lagos together as teenagers whose differing ideologies come to the fore over everything from film to football, Fela Kuti to God, sex to politics. They remain close-knit until Ihechi’s girlfriend, is killed in an anti-government riot.

Exiled by his concerned mother, Ihechi moves in with his uncle’s family, where he struggles to find himself outside his former circle of friends. Ihechi eventually finds success by leveraging his connection with a notorious prostitution linchpin and political heavyweight, and earning favor among the ruling elite.

But just as Ihechi is about to make his final ascent into the elite political class, he encounters his childhood friends and experiences a crisis of conscience that forces him to question his motives and who he wants to be.