Three months after making her choice between Ejike, Doug, and Dongjap, Rachel dusts off her diary… They are expecting a baby, but her marriage is not what she anticipated it would be. But that’s just normal, right? Nothing real faith and fervent prayer can’t handle… But as the years go by, Rachel wonders maybe she’s been looking at things all wrong. Maybe it’s not too late to make a different choice…

Rachel’s Diary is the second volume of The Naive Wife trilogy on love, marriage, and faith. It is an entertaining and eye-opening read for singles and married folks alike.

Theresa—has just arrived Nairobi airport where she will be picked up by her old friend, Duncan, an American pastor for a small evangelical denomination. Duncan cannot know that Nice is fleeing her life choices, and her UN job in Mogadishu. She believes she is too innocent-looking, too nice, for anyone to suspect that she is muling drugs.

But Nice has not contended with her drug-dealer Somali boyfriend having an associate in the Kenya Police Service. Duncan’s car crashes on the way back from the airport.

Duncan awakes after the car crash, to find himself captive to the sociopathic policeman, Hinga, and the charmingly amoral Ciru. Nice is gone. Plucked from his expat bubble, Duncan must plunge into the moral complexities of the under-city to get Nice back. But how deep can Duncan go, without destroying his faith, and himself?

After the suicide of the Alaafin Aole Arogangan, powerful forces begin to pull the oyo empire apart. The fear that Aole’s curse has begun its terrible work sweeps across the land. in the midst of this, Aare Ona Kakanfo Afonja of Ilorin has emerged at the top as the most powerful man in the empire.

But not for long. From the scheming of the scheming of the Oyo Mesi, a mew Alaafin emerges that will not make the mistakes the Aole made. He sets plans in motion to wrest supremacy in his empire from Afonja and the Oyo Mesi.

Yet it is not only the Oyo Mesi that scheme. In Ilorin, Alfa Alimi quietly bides his time while client kings of Bariba, Dahomey and Nupe join the fray in this epic tale that brings the story that started in Afonja: The Rise to a bloody close.

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.

Sankofa is a story for anyone who has ever gone looking for a clear identity or home, and found something more complex in its place. Anna is at a stage of her life when she’s beginning to wonder who she really is. She has separated from her husband, her daughter is all grown up, and her mother—the only parent who raised her—is dead.

Searching through her mother’s belongings one day, Anna finds clues about the African father she never knew. His student diaries chronicle his involvement in radical politics in 1970s London. Anna discovers that he eventually became the president—some would say dictator—of a small nation in West Africa. And he is still alive…

When Anna decides to track her father down, a journey begins that is disarmingly moving, funny, and fascinating. Like the metaphorical bird that gives the novel its name, Sankofa expresses the importance of reaching back to knowledge gained in the past and bringing it into the present to address universal questions of race and belonging, the overseas experience for the African diaspora, and the search for a family’s hidden roots.

“A Good Name is Eziafakaego and Zinachidi’s immigrant story. The Nigerian couple living in Houston are experiencing a difficult marriage.
The demure girl Eziafa went back home to marry has changed into a bold, educated woman. Unwilling to accept his wife’s growth, Eziafa is determined to clip her wings.

Zina, who came to Texas as an eighteen-year-old with big dreams, is disillusioned with her life. Unfazed by family expectations and tradition, Zina is ready to start over with Raven, an ex-Mennonite farm boy, even if there is a huge price to pay.

The novel’s “ripped from the headlines” slant fictionalizes the stories of female Nigerian nurses living in the United States who were murdered by their much older husbands.

Two boys venture from their village to hunt in a nearby forest, where they shoot down bats with glee, and cook their prey over an open fire. Within a month, they are dead, bodies ravaged by an insidious disease that neither the local healer’s potions nor the medical team’s treatments could cure. Compounding the family’s grief, experts warn against touching the sick. But this caution comes too late: the virus spreads rapidly, and the boys’ father is barely able to send his eldest daughter away for a chance at survival.

In a series of moving snapshots, Véronique Tadjo illustrates the terrible extent of the Ebola epidemic, through the eyes of those affected in myriad ways: the doctor who tirelessly treats patients day after day in a sweltering tent, protected from the virus only by a plastic suit; the student who volunteers to work as a gravedigger while universities are closed, helping the teams overwhelmed by the sheer number of bodies; the grandmother who agrees to take in an orphaned boy cast out of his village for fear of infection. And watching over them all is the ancient and wise Baobab tree, mourning the dire state of the earth yet providing a sense of hope for the future.

Ifiok, a young journalist working for a public radio station in Lagos, Nigeria, aspires to always do the right thing but the odds seem to be stacked against him.

Government pressures cause the funding to his radio drama to get cut off, his girlfriend leaves him when she discovers he is having an affair with an intern, and kidnappings and militancy are on the rise in the country.
When Ifiok travels to his hometown to do a documentary on some ex-militants’ apparent redemption, a tragi-comic series of events will make him realise he is unable to swim against the tide.

Radio Sunrise paints a satirical portrait of post-colonial Nigeria that builds on the legacy of the great African satirist tradition of Ngugi Wa Thiong’o and Ayi Kwei Armah.