Henry Muoria (1914-97), self-taught journalist and pamphleteer, helped to inspire Kenya's nationalisms before Mau Mau. The pamphlets reproduced here, in Gikuyu and English, contrast his own originality with the conservatism of Jomo Kenyatta, Kenya's first President. The contributing editors introduce Muoria's political context, tell how three remarkable women sustained his families' life; and remember him as father. Courageous intellectual, political, and domestic life here intertwine.

From one of Africa’s most influential and eloquent essayists, a posthumous collection that highlights his biting satire and subversive wisdom on topics from travel to cultural identity to sexuality “A fierce literary talent . . . [Wainaina] shines a light on his continent without cliché.”—The Guardian “Africa is the only continent you can love—take advantage of this. . . . Africa is to be pitied, worshipped, or dominated. Whichever angle you take, be sure to leave the strong impression that without your intervention and your important book, Africa is doomed.” Binyavanga Wainaina was a pioneering voice in African literature, an award-winning memoirist and essayist remembered as one of the greatest chroniclers of contemporary African life. This groundbreaking collection brings together, for the first time, Wainaina’s pioneering writing on the African continent, including many of his most critically acclaimed pieces, such as the viral satirical sensation “How to Write About Africa.” Working fearlessly across a range of topics—from politics to international aid, cultural heritage, and redefined sexuality—he describes the modern world with sensual, emotional, and psychological detail, giving us a full-color view of his home country and continent. These works present the portrait of a giant in African literature who left a tremendous legacy.

*A New York Times Notable Book* *A New York Times Book Review Editors' Choice* *A Publishers Weekly Top Ten Book of the Year* Binyavanga Wainaina tumbled through his middle-class Kenyan childhood out of kilter with the world around him. This world came to him as a chaos of loud and colorful sounds: the hair dryers at his mother's beauty parlor, black mamba bicycle bells, mechanics in Nairobi, the music of Michael Jackson—all punctuated by the infectious laughter of his brother and sister, Jimmy and Ciru. He could fall in with their patterns, but it would take him a while to carve out his own. In this vivid and compelling debut memoir, Wainaina takes us through his school days, his mother's religious period, his failed attempt to study in South Africa as a computer programmer, a moving family reunion in Uganda, and his travels around Kenya. The landscape in front of him always claims his main attention, but he also evokes the shifting political scene that unsettles his views on family, tribe, and nationhood. Throughout, reading is his refuge and his solace. And when, in 2002, a writing prize comes through, the door is opened for him to pursue the career that perhaps had been beckoning all along. A series of fascinating international reporting assignments follow. Finally he circles back to a Kenya in the throes of postelection violence and finds he is not the only one questioning the old certainties. Resolutely avoiding stereotype and cliché, Wainaina paints every scene in One Day I Will Write About This Place with a highly distinctive and hugely memorable brush.

In this quietly powerful and eminently readable novel, winner of the prestigious Sinclair Prize, Kenyan writer Marjorie Macgoye deftly interweaves the story of one young woman’s tumultuous coming of age with the history of a nation emerging from colonialism. At the age of sixteen, Paulina leaves her small village in western Kenya to join her new husband, Martin, in the bustling city of Nairobi. It is 1956, and Kenya is in the final days of the "Emergency," as the British seek to suppress violent anti-colonial revolts. But Paulina knows little about, about city life, or about marriage, and Martin’s clumsy attempts to control her soon lead to a relationship filled with silences, misunderstandings, and unfulfilled expectations. Soon Paulina’s inability to bear a child effectively banishes her from the confines of traditional women’s roles. As her country at last moves toward independence, Paulina manages to achieve a kind of independence as well: She accepts a job that will require her to live separately from her husband, and she has an affair that leads to the birth of her first child. But Paulina’s hard-won contentment will be shattered when Kenya’s turbulent history intrudes into her private life, bringing with it tragedy—and a new test of her quiet courage and determination. Paulina’s patient struggles for survival and identity are revealed through Marjorie Macgoye’s keen and sensitive vision—a vision which extends to embrace the whole of a nation and a people likewise struggling to find their way. As the Weekly Standard of Kenya notes, "Coming to Birth is a radical novel in firmly asserting our common humanity."

This book explores how different kinds of texts were interpreted, used, and recomposed in real-life political discourse.

Since independence from Great Britain in 1963, Kenya has survived five decades as a functioning nation-state, holding regular elections; its borders and political system intact and avoiding open war with its neighbours and military rule internally. It has been a favoured site for Western aid, trade, investment and tourism and has remained a close security partner for Western governments. However, Kenya's successive governments have failed to achieve adequate living conditions for most of its citizens; violence, corruption and tribalism have been ever-present, and its politics have failed to transcend its history. The decisions of the early years of independence and the acts of its leaders in the decades since have changed the country's path in unpredictable ways, but key themes of conflicts remain: over land, money, power, economic policy, national autonomy and the distribution of resources between classes and communities.While the country's political institutions have remained stable, the nation has changed, its population increasing nearly five-fold in five decades. But the economic and political elite's struggle for state resources and the exploitation of ethnicity for political purposes still threaten the country's existence. Today, Kenyans are arguing over many of the issues that divided them 50 years ago. The new constitution promulgated in 2010 provides an opportunity for national renewal, but it must confront a heavy legacy of history. This book reveals that history.

A People Pick! “One of the year’s must-reads.” –ELLE “[A] provocative, heart-breaking, and frequently hilarious collection.” –GLAMOUR “Essential, vital, and urgent.” –HARPER’S BAZAAR In the vein of Roxane Gay’s Bad Feminist and Issa Rae’s The Misadventures of Awkward Black Girl, but wholly its own, a provocative, humorous, and, at times, heartbreaking collection of essays on what it means to be black, a woman, a mother, and a global citizen in today's ever-changing world. Black women have never been more visible or more publicly celebrated than they are now. But for every new milestone, every magazine cover, every box office record smashed, every new face elected to public office, the reality of everyday life for black women remains a complex, conflicted, contradiction-laden experience. An American journalist who has been living and working in London for a decade, Kenya Hunt has made a career of distilling moments, movements, and cultural moods into words. Her work takes the difficult and the indefinable and makes it accessible; it is razor sharp cultural observation threaded through evocative and relatable stories. Girl Gurl Grrrl both illuminates our current cultural moment and transcends it. Hunt captures the zeitgeist while also creating a timeless celebration of womanhood, of blackness, and the possibilities they both contain. She blends the popular and the personal, the frivolous and the momentous in a collection that truly reflects what it is to be living and thriving as a black woman today.