Here are 26 books that The Famished Road Trilogy fans have personally recommended once you finish the The Famished Road Trilogy series.
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I am an avid reader of fantasy novels and a Nigerian. Born and raised in southern Nigeria, I grew up during a time when Nigerian culture closely resembled that of a century ago. Since the 1980s, my country has undergone significant cultural changes, and I am drawn to stories that remind me of a simpler time, before I started adulting. I am also deeply fascinated with history. I have delved into anthropological articles and textbooks dating back to the eighteenth century to gain a better understanding of my heritage and people. These readings have greatly influenced my own writing, allowing me to paint the vivid historical pictures that captivate me.
Set in precolonial Hausaland, this novel tells the gripping tale of a man on a relentless quest for revenge. The story resonated with me for several reasons, not the least of which was its pre-colonial setting that offered a glimpse into the past.
Ekwensi’s straightforward prose weaves a vibrant tapestry that is rich with cultural details. His portrayal of bravery, determination, and an unwavering sense of justice captivated me from the outset. Reflecting the oral traditions characteristic of Ekwensi’s writing style, the novel imparts social commentary and moral lessons in a manner that I found both entertaining and thought-provoking.
The Passport of Mallam Ilia is a love story tinged with a vengeance mission. On his quest to avenge the death of his wife, Zarah, the hero, Mallam Ilia, misses out on his entire youth.
I am an avid reader of fantasy novels and a Nigerian. Born and raised in southern Nigeria, I grew up during a time when Nigerian culture closely resembled that of a century ago. Since the 1980s, my country has undergone significant cultural changes, and I am drawn to stories that remind me of a simpler time, before I started adulting. I am also deeply fascinated with history. I have delved into anthropological articles and textbooks dating back to the eighteenth century to gain a better understanding of my heritage and people. These readings have greatly influenced my own writing, allowing me to paint the vivid historical pictures that captivate me.
Released in 2021, God of Mercy satisfied my need for history and fantasy with an authentic portrayal of Igbo traditions, language, and spirituality. This dark tale follows Ijeoma, a girl blessed with the ability to fly, and delves into the complexities of faith, community, and the clash between traditional religions, ancient customs, colonial encroachment, and modern ideas.
Nwoka's beautiful prose and intricate storytelling immersed me in a world where the supernatural smoothly integrates with everyday life. The novel’s depiction of a small village struggling to preserve its cultural heritage in the face of external pressures struck a chord with me as I grew up at a time when traditional religions were still contending with colonial religions in my country’s native villages.
This novel offered me a profoundly enriching reading experience that honored the past while stimulating the imagination. Trigger warning: child abuse and torture.
"Nwoka's debut feels like a dream, or a fable, or something in between . . . Recommended for fans of Nnedi Okorafor's Remote Control or Nghi Vo's The Empress of Salt and Fortune." -Ashley Rayner, Booklist
"[God of Mercy] owes a debt to Chinua Achebe's Things Fall Apart, revising that novel's message for the recent past . . . A well-turned dramatization of spiritual and social culture clashes." -Kirkus Reviews
Homegoing meets Black Leopard, Red Wolf, Okezie Nwoka's debut novel is a powerful reimagining of a history erased.
God of Mercy is set in Ichulu, an Igbo village where the…
I am an avid reader of fantasy novels and a Nigerian. Born and raised in southern Nigeria, I grew up during a time when Nigerian culture closely resembled that of a century ago. Since the 1980s, my country has undergone significant cultural changes, and I am drawn to stories that remind me of a simpler time, before I started adulting. I am also deeply fascinated with history. I have delved into anthropological articles and textbooks dating back to the eighteenth century to gain a better understanding of my heritage and people. These readings have greatly influenced my own writing, allowing me to paint the vivid historical pictures that captivate me.
Unimpressed by Amos Tutuola’s debut novel, I approached My Life in the Bush of Ghosts with caution. However, I’m glad I took the leap. Tutuola’s vivid descriptions of supernatural entities from Yoruba tradition appealed to both the avid fantasy reader and the cultural historian in me.
The narrative of a young boy’s journey through a mystical forest paints an uncluttered picture of postcolonial Nigerian life. Despite my preference for complex prose, this simple storytelling evokes memories of time spent in my ancestral village, listening to tales told by the elders. Tutuola’s writing style, influenced by oral tradition, captivated my imagination, taking me on a uniquely Nigerian adventure.
My Life in the Bush of Ghosts, Amos Tutuola's second novel, was first published in 1954. It tells the tale of a small boy who wanders into the heart of a fantastical African forest, the dwelling place of innumerable wild, grotesque and terrifying beings. He is captured by ghosts, buried alive and wrapped up in spider webs, but after several years he marries and accepts his new existence. With the appearance of the television-handed ghostess, however, comes a possible route of escape.
'Tutuola ... has the immediate intuition of a creative artist working by spell and incantation.' V. S. Pritchett,…
I was born in Akure, a hilly, ancient, rainforest town that became the chief administrative town of the newly created Ondo State in 1976. As a child, I witnessed the old town’s effort, both deliberate and inevitable, to wear a modern look. I’m naturally attracted to stories, fiction or non-fiction, that gives voice to the individual right to resist the old or the new; resistance that will not be without consequences. Kasali’s Africa is the theatre of ideas for Kasali, a rural farmer courted by the educated elites, and his view on what Africa should be. If you love Africa, I know you will enjoy these books.
The Fishermen is set in Akure, the first town I ever knew intimately, and a town I have fallen in love with once again as an adult. In Akure you will see hills and rivers and green scenery, you will see stories. This gives me rare insight into the childhood adventures of the protagonist, Ben, and his 3 brothers, whose lives were shackled by the rantings of a mentally disturbed man. I love the author’s use of historical figures and events of 1990s Nigeria as a backdrop for this tragic story about a normal Nigerian family.
A striking debut novel about an unforgettable childhood, by a Nigerian writer the New York Times has crowned "the heir to Chinua Achebe."
Told by nine-year-old Benjamin, the youngest of four brothers, The Fishermen is the Cain and Abel-esque story of a childhood in Nigeria, in the small town of Akure. When their father has to travel to a distant city for work, the brothers take advantage of his absence to skip school and go fishing. At the forbidden nearby river, they meet a madman who persuades the oldest of the boys that he is destined to be killed by…
I was born in Akure, a hilly, ancient, rainforest town that became the chief administrative town of the newly created Ondo State in 1976. As a child, I witnessed the old town’s effort, both deliberate and inevitable, to wear a modern look. I’m naturally attracted to stories, fiction or non-fiction, that gives voice to the individual right to resist the old or the new; resistance that will not be without consequences. Kasali’s Africa is the theatre of ideas for Kasali, a rural farmer courted by the educated elites, and his view on what Africa should be. If you love Africa, I know you will enjoy these books.
I was taken to Congo Brazzaville in the 70s. I know that 10-year-old boy, Michel, the narrator of this exploration of urban, postcolonial childhood. As the continent oscillates between cold war ideologies, Michel innocently observes the world around him and truthfully arrives at philosophical conclusions based on his intelligence. The skillful mix of moments of sad reflection with the joys of childhood thrills the adult perspective, thus giving us 1970s Pointe Noire and the air around it.
Finalist for the Man Booker International Prize 2015
Michel is ten years old, living in Pointe Noire, Congo, in the 1970s. His mother sells peanuts at the market, his father works at the Victory Palace Hotel, and brings home books left behind by the white guests. Planes cross the sky overhead, and Michel and his friend Lounes dream about the countries where they'll land.
While news comes over the radio of the American hostage crisis in Tehran, the death of the Shah, the scandal of the Boukassa diamonds, Michel struggles with the demands of his twelve year old girlfriend Caroline,…
I’m a philosopher with a voracious appetite for literature. I inhabit a world of abstract ideas but always return to fiction because it vividly portrays the real-world consequences of our beliefs and reminds us that ideas also move us irrationally: they’re comforting or disturbing, audacious or dull, seductive or repellant. I prefer world literature because it plants us in new times and places, helping us, like philosophy, see beyond our blinders. Deprived of the assumptions that prop up our everyday arrogance, we can clear a mental and emotional path to what we’ve ignored or covered up, as well as rediscover and reaffirm shared values, arrived at from new directions.
Nietzsche’s greatest admirers often distort his views. Mishima is no exception. Considering his nationalism, militarism, and ritualistic suicide, it’s little surprise he endorses the popular misconception of Nietzsche as a champion of egoism and power.
In this fascinating, disturbing story, adolescent boys create a club devoted to an amoral, pseudo-Nietzschean ideal. When they encounter a mysterious sailor, they worship him as a living embodiment of their values until he defies the image they’ve created.
Mishima misinterprets Nietzsche but in a critically illuminating way. The boys’ ultimate reaction to their disappointing demi-god proves their hypocrisy, revealing that they idolize precisely the qualities they lack. So Mishima inadvertently debunks the stereotypical image of the “overman,” a cartoonishly impossible superhero, a fantasy who attracts only his polar opposites: the insecure, resentful, conformist, and childish.
A band of savage 13-year-old boys reject the adult world as illusory, hypocritical, and sentimental, and train themselves in a brutal callousness they call 'objectivity'. When the mother of one of them begins an affair with a ship's officer, he and his friends idealise the man at first; but it is not long before they conclude that he is in fact soft and romantic. They regard this disallusionment as an act of betrayal on his part - and the retribution is deliberate and horrifying.
I find the experience of being at large in the world without a definite goal or obligation—that is, the state of drifting—to be a profound and intense way of communing with yourself and the place you’re in. If you’re hurrying someplace, or caught up in internal worries, you miss something about the world that only becomes clear if you let yourself drift, no matter how scary that can be.
There are several Beckett books that belong on my list, as Beckett I think is one of the great authors about vagrants and castoffs, but Molloy is ground zero for me in terms of my relation to Beckett's work. The strangeness of Molloy's solitary relation to the world, and to the room he's confined in, was a big influence on my books as well.
Molloy, the first of the three masterpieces which constitute Samuel Beckett’s famous trilogy, appeared in French in 1951, followed seven months later by Malone Dies (Malone meurt) and two years later by The Unnamable (L’Innommable). Few works of contemporary literature have been so universally acclaimed as central to their time and to our understanding of the human experience.
I find the experience of being at large in the world without a definite goal or obligation—that is, the state of drifting—to be a profound and intense way of communing with yourself and the place you’re in. If you’re hurrying someplace, or caught up in internal worries, you miss something about the world that only becomes clear if you let yourself drift, no matter how scary that can be.
This book is an obvious choice perhaps, but one that can't be omitted. The tragicomic frustration of the surveyor who can't complete the job he's been sent to do no matter how hard he tries is massively influential for a number of very good reasons. Also, the way that the castle is both a literal place and a potent metaphor is crucial—as ever in Kafka, it's never just a metaphor, just as it's neverjust a dream, but rather a dream or a metaphor that also develops out of and into a very concrete situation. This is crucial writing advice for anyone interested in working with dreamlike or surreal elements.
'He is the greatest German writer of our time. Such poets as Rilke or such novelists as Thomas Mann are dwarfs or plaster saints in comparison to him' Vladimir Nabokov
The story of K. and his arrival in a village where he is never accepted, and his relentless, unavailing struggle with authority in order to gain entrance to the castle that seems to rule it. K.'s isolation and perplexity, his begging for the approval of elusive and anonymous powers, epitomises Kafka's vision of twentieth-century alienation and anxiety.
I've always been a writer. Most recently, though, I have completed a PhD in philosophy and I decided to write a book that deals with the issues that I wrestled with over the course of my studies in a way that can be appreciated by a popular audience. This Enchanted Realm is my first book—though I'm the author of a dissertation on Charles S. Peirce and two academic papers on Peirce and Arthur Schopenhauer. Like Franz Kafka before me, I was employed in a job unrelated to creative writing which is where I realized that good poetry is only the right words in the right order—I decided to move from writing technical protocols to writing—technically—stories.
Whether you love him or hate him (as he was a tortured and unpleasant soul), Céline innovated the philosophical novel in the modern context and brought the genre to its pinnacle with Journey to the End of the Night.Reflecting on the horrors, absurdity, and stupidity of World War I, returning soldier Ferdinand Bardamu (a stand-in for Céline) finds himself equally miserable in “peacetime” serving as a doctor for the poor in Paris (Céline was trained as a doctor). Céline is occasionally compared to another French writer of philosophical novels: Jean-Paul Sartre. Journeyis not heavily allegorical like some of Sartre’s fiction works are (such as No Exit); Céline simply “shouts” at you, and sometimes you’re benefited in hearing the shouting. In Journey’s portrayal of inter-war urban decay, one gets the sense that Céline agrees…
Celine's masterpiece-colloquial, polemic, hyper realistic-boils over with bitter humor and revulsion at society's idiocy and hypocrisy: Journey to the End of the Night is a literary symphony of cruelty and violence that hurtles through the improbable travels of the petit bourgeois (and largely autobiographical) antihero, Bardamu: from the trenches of WWI, to the African jungle, to New York, to the Ford Factory in Detroit, and finally to life in Paris as a failed doctor. Ralph Manheim's pitch-perfect translation captures Celine's savage energy, and a dynamic afterword by William T. Vollmann presents a fresh, furiously alive take on this astonishing novel.
I’m tired of playing by the rules of a game I’m not allowed to win. I’m tired of being bound to a standard of being in the world that we know isn’t working but are too scared to confront head-on. I’m tired of being told to beat around the bush when pruning it, uprooting it, or burning it altogether would serve it better. I reject the tenet of white supremacy that claims a constant right to comfort. Brave and honest discourse matters. Our commitment to each other and to the future of every single creature on this earth matters. Bring on the badasses who love passionately, laugh loudly, and live bravely.
When the world ends, who will you turn to? For me, I’d turn to someone like Kainene in this book. Kainene isn’t beautiful, doesn’t play by the ridiculous rules of the feminine mystique, and is righteously bitter about a lot of things in her life. She’s also a guileless straight shooter people can count on, to tell the truth in any situation. That truth is never sugar-coated; it’s exactly what the characters in her life need to hear.
I love the bravery of her choice to keep her innermost thoughts private. I admire how steadfast she holds on to her commitment to what she believes will be a better future.
Winner of the Orange Broadband Prize for Fiction 2007, this is a heartbreaking, exquisitely written literary masterpiece
This highly anticipated novel from Chimamanda Ngozi Adichie is set in Nigeria during the 1960s, at the time of a vicious civil war in which a million people died and thousands were massacred in cold blood.
The three main characters in the novel are swept up in the violence during these turbulent years. One is a young boy from a poor village who is employed at a university lecturer's house. The other is a…
