An anthology of noir stories set in the tumultuous metropolis, Lagos. Edited by Chris Abani, this collection brings together brand new stories from some of Nigeria's best loved writers. From the introduction by Chris Abani: The thirteen stories that comprise this volume stretch the boundaries of "noir" fiction, but each one of them fully captures the essence of noir, the unsettled darkness that continues to lurk in the city's streets, alleys, and waterways...Together, these stories create an unchartered path through the center of Lagos and out to its peripheries, revealing so much more truth at the heart of this tremendous city than any guidebook, TV show, film, or book you are likely to find.

"Abani . . . explores place and humor, exile and freedom with poems of experience and imagination . . . he] enters the wound with a boldness that avoids nothing. Highly recommended." --"Library Journal"

"Stunning poems." --"New Humanist"

A self-described "zealot of optimism," poet and novelist Chris Abani bravely travels into the charged intersections of atrocity and love, politics and religion, loss and renewal. In poems of devastating beauty, he investigates complex personal history, family, and romantic love.

"Sanctificum," Abani's fifth collection of poetry, is his most personal and ambitious book. Utilizing religious ritual, the Nigerian Igbo language, and reggae rhythms, Abani creates a post-racial, liturgical love song that covers the globe from Abuja to Los Angeles.

"I say hibiscus and mean innocence.
I say guava and mean childhood.
I say mosquito netting and mean loss.
I say father and it means only that.
Happen that we all dream, but the sea is only sea.
Happen that we call upon God but it is only a breeze
ruffling a prayer book in a small church
where benches groan in the heat . . . "

Chris Abani was born in Nigeria in 1966 and published his first novel at sixteen. He was imprisoned for his writings, and after his release he eventually moved to the United States. He is the author of ten books of poetry and fiction, including the best-selling novel "GraceLand." He teaches at the University of California-Riverside and lives in Los Angeles.

"Chris Abani's poetry resonates with a devastating beauty which cuts through to the heart of human strength."--"Pride"""

"Hands Washing Water" is Chris Abani's fourth poetry collection--a mischievous book of displacement, exile, ancestry, and subversive humor. The central section, "Buffalo Women," is a Civil War correspondence between lovers that plays on our assumptions about war, gender, morality, and politics.

"Sweetest Henri, "
"I know we promised to be honest, "
"one to the other, but your recent missive, "
"though welcome as any epistle from you, "
"filled me with a dread that clung"
"like dampness to wet wood. I am terrified"
"for your immortal soul, dear sweet Henri."
"This mad war of Lincoln is infecting you"
"with a sickness too depraved to even address. . ."

Abani's writing is ruthless, at times traumatic, and consistently filled with surprising twists and turns.

There Where It's So Bright in Me pries at the complexities of difference-race, religion, gender, nationality-that shape twenty-first-century geopolitical conditions. With work spanning more than thirty-five years and as one of the most prominent figures in contemporary African literature, Tanella Boni is uniquely positioned to test the distinctions of self, other, and belonging. Two twenty-first-century civil wars have made her West African home country of Cote d'Ivoire unstable. Abroad in the United States, Boni confronts the racialized violence that accompanies the idea of Blackness; in France, a second home since her university days, Boni encounters the nationalism roiling much of Europe as the consequences of (neo)colonialism shift the continent's ethnic and racial profile. What would it mean for the borders that segregate-for these social, political, cultural, personal, and historicizing forces that enshroud us-to lose their dominion? In a body under constant threat, how does the human spirit stay afloat? Boni's poetry is characterized by a hard-earned buoyancy, given her subject matter. Her empathy, insight, and plainspoken address are crucial contributions to the many difficult contemporary conversations we must engage.

Here is the superb second edition of the annual anthology devoted to the best nonfiction writing by African American authors--provocative works from an unprecedented and unforgettable year when truth was stranger (and more inspiring) than fiction.
The galvanizing election of Barack Obama was on the minds--and the pages--of authors everywhere. Best African American Essays 2010 features the insights of writers from Juan Williams to Kelefa Sanneh and even Obama himself (his seminal speech on race is included here in its entirety). Ta-Nehisi Coates, in The Nation, proclaims that the president has "redefined blackness for white America," while Adolph Reed, Jr., in The Progressive, calls him a "vacuous opportunist" and Colson Whitehead, in The New York Times, lightheartedly revels in the election of "someone who looked like me . . . slim." The First Lady is considered, too, as Lauren Collins, in The New Yorker, assesses the radical quality of Michelle Obama's very normalcy.
But Best African American Essays 2010 goes beyond the Obamas with brilliant pieces from such writers as Hua Hsu, who declares the end of white America in "a new cultural mainstream which prizes diversity above all else"; Henry Louis Gates, who researches his family tree, adding to the "young discipline" that is African American history; and Jelani Cobb, who dares to defend George W. Bush. There are thoughtful and heartfelt tributes to living legends, including Bill Cosby (and an analysis of his famous "pound cake" speech, which promoted black responsibility, empowerment, and self-esteem), and remembrances of those who have passed, including Miriam Makeba, Isaac Hayes, Eartha Kitt, and Michael Jackson.
Selected by guest editor Randall Kennedy, a leading intellectual and legal scholar, the wide-ranging pieces in Best African American Essays 2010 comprise a thrilling collection that anyone who wishes to understand the meaning of the new America must own.

A collection of imaginative and witty poems, this work displays astonishing energy; beauty of expression; and a range of reference to contemporary life, history, art, and literature. Including both meditative and narrative poems, this volume frequently focuses on extreme situations where compassion, love, and individual determination triumph against all odds. "Daphne's Lot" explores the life of an Englishwoman, the poet's mother, as she is caught up in the madness of the Nigerian civil war, while "Buffalo Women"--an epistolary sequence of poems--follows two lovers mired by the American Civil War. Through irony and empathy, this collection presents characters who are at odds with their societies.

"The masterful wedding of the narrative and the lyric in these poems (whose subject is the maturation of a sensibility, the coming-of-age of a young Englishwoman—the power of her ties to family, husband and her 'adopted' country, Nigeria—as well as the illumination of her own soul and that of the narrator's) fills the reader with both sorrow and wonder. It is an instructive tale for our age—its vision of the individual will and imagination resisting the madness of politics and the destruction of war is singular and profound." —Carol Muske-Dukes

From the author of the award-winning "GraceLand" comes a searing, dazzlingly written novel of a tarnished City of Angels

Praised as "singular" ("The Philadelphia Inquirer") and "extraordinary" ("The New York Times Book Review"), "GraceLand" stunned critics and instantly established Chris Abani as an exciting new voice in fiction. In his second novel, set against the uncompromising landscape of East L.A., Abani follows a struggling artist named Black, whose life and friendships reveal a world far removed from the mainstream. Through Black's journey of self- discovery, Abani raises essential questions about poverty, religion, and ethnicity in America today. "The Virgin of Flames," a marvelous and gritty novel filled with indelible images and unforgettable characters, confirms Chris Abani as an immensely talented writer.

Spirited and fiercely independent Abigail is brought as a teenager to London from Nigeria by relatives who attempt to force her into prostitution. She flees, struggling to find herself in the shadow of a strong but dead mother. In spare yet haunting and lyrical prose, Abani brings to life a young woman who lives with a strength and inner light that will enlighten and uplift the reader.

Nowhere to Arrive takes as its subjects the whiplash of travel, the shuttling between disparate places and climes, and an unremitting sense of dislocation. These poems court the tension between the familiar and the foreign, between the self as distinct and the self as illusory. They look plainly at the startling strangeness of varied landscapes and mindscapes, and interrogate a state of unrootedness - one thrown into relief by the speaker's years abroad in Southeast Asia. At the chapbook's center are two long poems, titled "Phnom Penh Diptych: Wet Season" and "Phnom Penh Diptych: Dry Season," that examine the escapist narratives that draw tourists and expatriates to Cambodia, and the speaker's own privileged positioning. On a formal level, the poems in Nowhere to Arrive make room for the unsaid and that which cannot be articulated. Here, we have a vocabulary of silence alongside stark imagistic juxtapositions, poems that celebrate compression and the force of paratactic constructions. Attentiveness and concentration emerge as virtues, as the speaker surveys the vast territory of the present with a wakeful gaze.