Recensori in anteprimaPeter Kimani

Lee Child recruits Joyce Carol Oates, Jonathan Ames, Cara Black, and others to reveal nicotine’s scintillating alter egos. In recent years, nicotine has become as verboten as many hard drugs. The literary styles in this volume are as varied as the moral quandaries herein, and the authors have successfully unleashed their incandescent imaginations on the subject matter, fashioning an immensely addictive collection. Featuring brand-new stories by: Lee Child, Joyce Carol Oates, Jonathan Ames, Eric Bogosian, Achy Obejas, Michael Imperioli, Hannah Tinti, Ariel Gore, Bernice L. McFadden, Cara Black, Christopher Sorrentino, David L. Ulin, Jerry Stahl, Lauren Sanders, Peter Kimani, and Robert Arellano. Inspired by the ongoing international success of the city-based Akashic Noir Series (Brooklyn Noir, Boston Noir, Paris Noir, etc.), Akashic created the Drug Chronicles Series in 2011. Following The Speed Chronicles (William T. Vollmann, Megan Abbott), The Cocaine Chronicles (Lee Child, Laura Lippman), The Heroin Chronicles (Jerry Stahl, Eric Bogosian, Lydia Lunch), and The Marijuana Chronicles (Lee Child, Joyce Carol Oates) comes The Nicotine Chronicles, masterfully curated by blockbuster hit maker Lee Child.

Ngũgĩ wa Thiong’o anchors this truly fascinating first East African installment in the Akashic Noir Series. Akashic Books continues its award-winning series of original noir anthologies, launched in 2004 with Brooklyn Noir. Each book comprises all new stories, each one set in a distinct neighborhood or location within the respective city. Brand-new stories by: Ngũgĩ wa Thiong’o, Stanley Gazemba, Ngumi Kibera, Peter Kimani, Winfred Kiunga, Kinyanjui Kombani, Caroline Mose, Kevin Mwachiro, Wanjikũ wa Ngũgĩ, Faith Oneya, Makena Onjerika, Troy Onyango, J.E. Sibi-Okumu, and Rasna Warah. From the introduction by Peter Kimani: Nairobi Noir is an act of excavation, rediscovering the city’s ossified past and infusing life to preserve it for future generations. It is also an act of celebration, reminding readers of the brilliance of the best-known writers to emerge from this part of the world, and heralding the birth of new writers whose gifts, we can safely predict, will shine brightly in the years ahead. The oldest writer in this anthology is eighty-one, the youngest is only twenty-four; if there is any inference one can draw from this demographic it is that this anthology offers an entire spectrum of Kenyan writing: the past, present, and future. If we can allow one extravagant claim, a collection of this nature is unprecedented in Kenya’s literary history. Although the range of issues explored in Nairobi Noir is as diverse as its contributors, it all gestures toward a common theme. In this concrete jungle, the hunters and herders live on. As do the hunted . . .

Set in the shadow of Kenya’s independence from Great Britain, Dance of the Jakaranda reimagines the special circumstances that brought black, brown, and white men together to lay the railroad that heralded the birth of the nation. The novel traces the lives and loves of three men—preacher Richard Turnbull, the colonial administrator Ian McDonald, and Indian technician Babu Salim—whose lives intersect when they are implicated in the controversial birth of a child. Years later, when Babu’s grandson, Rajan—who ekes out a living by singing Babu’s epic tales of the railway’s construction—accidentally kisses a mysterious stranger in a dark nightclub, the encounter provides the spark to illuminate the three men’s shared, murky past. With its riveting multiracial, multicultural cast and diverse literary allusions, Dance of the Jakaranda could well be a story of globalization. Yet the novel is firmly anchored in the African oral storytelling tradition, its language a dreamy, exalted, and earthy mix that creates new thresholds of identity, providing a fresh metaphor for race in contemporary Africa.