Best mates Karl and Abu are both 17 and live near Kings Cross. It’s 2011 and racial tensions are set to explode across London. Abu is infatuated with gorgeous classmate Nalini but dares not speak to her. Meanwhile, Karl is the target of the local ‘wannabe’ thugs just for being different.

When Karl finds out his father lives in Nigeria, he decides that Port Harcourt is the best place to escape the sound and fury of London, and connect with a Dad he’s never known.

Rejected on arrival, Karl befriends Nakale, an activist who wants to expose the ecocide in the Niger Delta to the world. Increasingly distant from happenings in London, Karl falls headlong for Nakale’s feisty cousin, Janoma.

Meanwhile, the murder of Mark Duggan triggers a full-scale riot in London. Abu finds himself caught up in its midst, leading to a tragedy that forces Karl to race back home.

In this contemporary Christian novel, readers would see how love and faith erode with promises not kept and understand that no matter how far we run away from our problems, it’s impossible to hide from God’s presence

From the globally acclaimed, best-selling novelist and author of We Should All Be Feminists, a timely and deeply personal account of the loss of her father.

Notes on Grief is an exquisite work of meditation, remembrance, and hope, written in the wake of Chimamanda Ngozi Adichie’s beloved father’s death in the summer of 2020. As the COVID-19 pandemic raged around the world and kept Adichie and her family members separated from one another, her father succumbed unexpectedly to complications of kidney failure.

In this extended essay, which originated in a New Yorker piece, Adichie shares how this loss shook her to her core. She writes about being one of the millions of people grieving this year; about the familial and cultural dimensions of grief and also about the loneliness and anger that are unavoidable in it. With signature precision of language, and glittering, devastating detail on the

Face Me I Face You is a collection of poems existing at the interface of identity, class, and African culture. It holds a mirror to the working class by capturing the narrative essence and dramatized aspirations of its characters. The deployed humor fondly humanizes our modern realities and reaches beyond the tragedy of these colorful archetypes of city life.

Abbey Razak shares her harrowing tales of years of marital abuse in Cutting Ties. Join Abbey as she details her experience with her toxic marriage with a religious fanatic, a meddling mother in law, dealing with depression but finally rising above it all to begin on the path to a new life with her children and with hope that the future will only get better.

Alaere Benson is your typical modern, professional woman in search of that elusive work-life balance and societal acceptance in Lagos. When she gets a job at Criole, she is excited to be working for a multinational company, but it does not take long for her to see that Criole is dysfunctional and bears an eerie similarity to Nigeria. As she struggles to find her footing in her new role, she witnesses a never-ending theatre of murder, sexual harassment and mysticism.

They say fiction is an extension of the factual. Niran Adedokun’s The Law is an Ass, features nine short stories that seem like fictional manifestations of the concerns in his second book, The Danfo Driver in All of Us. In this collection, Niran continues his jeremiad about Nigeria, with stories about sexual shenanigans (both real and imagined), corruption, poverty and deprivation as well as a heady cocktail of other problems that beset a third world country like Nigeria.

On her deathbed, Leona seeks forgiveness by confessional. Dastardly as the sin is, it is an act of love, loyalty, disobedience, and perceived fairness. How did she get here, where she, an internationally renowned model, is forced to kill her father-in-law to avenge her mother’s death?

Lagos, January 1976, six years after the Nigerian Civil War. A new military regime has been in power for six months, but rumours are spreading that a counter-coup is imminent. At an art exhibition in the affluent Ikoyi neighbourhood, Remi Lawal, a Nigerian woman who runs her own greeting-card shop, meets Frances Cooke, who introduces herself as an American art dealer, in Nigeria to buy rare beads. They become friends and over the next few weeks confide in each other about their aspirations, loyalties, marriage, motherhood – and Nigeria itself, as hospitable Remi welcomes the enigmatic Frances into her world. Remi’s husband, Tunde, naturally suspects Frances – like any American in Lagos – of gathering intelligence for the CIA, yet she is unconvinced. Cynical about the country’s unending instability, and alienated by the shallowness of the city’s elite, she willingly shares her views with Frances. But the February 13 assassination of General Muhammed prompts Remi to reconsider one particular conversation with her new acquaintance in a different light.

Born in war-torn Liberia, Ma Kemah George has had a series of bad luck in the course of her young life. Among other troubles, she was molested as a child and the only thing that got her through her childhood sane was her best friend, Vincent, who later became her fiancé. Then he died a month after their engagement, and she had to start the next chapter of her life alone as an international student in New York. Her plan was simple. Get over her dead fiancé while getting a master’s degree in the USA. But during her first thirty minutes in the land of the free, she supposedly became engaged to America’s beloved baseball star, Warren McAllister. Now Twitter is going crazy with #whoisMaKemah?

In this fabulous follow-up to the internationally acclaimed The Lazarus Effect, newspaper reporter Vee Johnson reprieves her role as Cape Town’s most feisty female investigator. Vee and her ever-faithful sidekick, Chlöe Bishop, have been banished from City Chronicle’s newsroom to review a tourist lodge in sleepy Oudtshoorn. But Vee and Chlöe are barely checked in to their rooms when the first body is discovered… hanging from a tree, with Vee’s purple silk scarf used as a noose. But is it suicide or strangulation? As Vee investigates the death, she is pulled into a bewildering world of conferences and corruption, dog-walking and drug addiction, break-ins and black    economic empowerment.

A trio of teenage girls, Imabong Nyang, Tonye Femeiya and Ivie Udi, are casualties of the Warri Crisis of 1997.

All three were close friends and classmates who lived in the same neighbourhood at Lower Erejuwa in Warri South Local Government Area of Delta State.

Calamity struck when the crisis heightened in 1997, which took a toll on their families, with each of them losing a blood relative in the most disheartening way.

They reconnect twenty-two years later, in the most awkward circumstances, each nursing the scar from the wounds the crisis inflicted on them.