In the prologue of Akin Adesokan’s sophomore novel, South Side, a reader is likely quick to ask: What exactly is...
There are stories the living cannot tell, not because they forget, but because they are not equipped to do so....
A memoir is a deeply personal journey into memory, an intimate telling of a life, not in its entirety, but...
The Village Priest by Remmy Nweke is a powerful narrative that weaves together history, tradition, resistance, reconciliation, and innovation—set within...
Will Affliction Arise a Second Time?: A Review of Lola Akinmade’s ‘Bitter Honey’— Olukorede S Yishau
What manner of a man is Lars? How should a mother handle a daughter who looks so much like her...
The book shows us where and how the rich live in Abuja, we see its magnificent mansions, the mirrored hallways, and its pure opulence and grandeur, which are deliberately hidden behind high electric fences. We also see old money in its quiet and unimposing nature.
Hafsat Bebi is an absolute delight to read.
The arrest of Kunle Ajibade gave me nightmares. I was working with him in the same company when he was...
In her colourful descriptions, there are hints of Fetto’s second career as a fashion journalist. (She is the style editor at British Vogue and the author of Palette, a beauty bible for black women.) Like Erving Goffman who penned The Presentation of Self, Fetto’s radar is attuned to how people employ clothes and cosmetics in crafting their personal narratives and the varying results.
Central to the book is the influence of parental relationships on one’s understanding of love and identity. The narrative unpacks how experiences with earthly parents can either illuminate or distort perceptions of God. Cultural expectations around motherhood, religious commitment, and respect are interwoven throughout, revealing how societal norms can simultaneously comfort and complicate the grieving process.
In These Letters End In Tears, the Cameroonian author Musih Tedji Xaviere plants her flag on the mountain top of...
Resistance, as Okungbowa portrays it, is a refusal to accept and live by propaganda. To erase a people is to deny their history, to make it seem like they never existed at all.
In the final pages, as Oga Simon faces an uncertain future, the tension between hope and despair, between the self he has become and the man he longs to be, reaches a sad crescendo. Although the road ahead remains fraught with peril, there is an undeniable sense that redemption, while elusive, is still within his grasp
