Fans pick 12 books like No Heaven for Good Boys

I was born in a Jamaican far-district just before independence. That historical fact is only one aspect of my in-between childhood. My daily imaginative fare was European fairy tales; my mother’s stories of growing up; and folktales, rife with plantation monsters, that my grand-uncle told. There was no distance between life and those tales: our life was mythic. The district people were poor. So they understood inexactitudes profoundly enough to put two and two together and make five. They worshipped integrity, and church was central. Inevitably, genre-crossing, “impossible” realities, and the many ways love interrupts history, were set in my imagination by the time I was seven and knew I would write.

In Six Memos for the Next Millennium, Italo Calvino writes that “we can distinguish between two types of imaginative processes, one that begins with words and ends with the visual image, and another that begins with the visual image and ends with its verbal expression.” All of my writing projects begin with the visual image. It is difficult for me to verbalize what precisely about art that captivates me. But when I stand in front of certain artworks, I feel a magnetic pull, and something in the piece—the brushstrokes, the colors, the materiality—compels me to write something in response to it.

Iʻve been travelling to islands before realizing I was seeking them. It was my political convictions that brought me to Haiti and Cuba, and later to Indonesia and Thai Islands due to my philosophical interests. When I headed to Greece for the first time it was to Corfu and the Peloponnese, my lineage, but also to Ithaca, Crete, the Cyclades, and eventually to Lesvos. Now I live in Hawaiʻi. I was attracted to the poetics of island landscapes, but as a scholar of space, society, and justice, I also understood that islands hold distinct sets of constraints and opportunities that require further study with intersectional and decolonial perspectives.

I'm a psychoanalyst and a writer. I'm fascinated with the thoughts, feelings, dreams, and fantasies that make up our inner worlds, and I love how the beauty of language can reach beyond what ordinary experience seems to suggest. My novels take place in the minds of their protagonists; I look through their eyes and follow the ideas, memories, and hopes that guide their lives. I enjoy their idiosyncrasies, allow them to be weird, vulnerable, and volatile, and I think of them as lovable and in times of adversity as brave as any human being can be.

It took years of being an undercover writer turned book blogger for me to realize just how much of what's considered African fiction is Western publishers' profiteering efforts to churn out novels centered on colonial trauma after postcolonial trauma tailored to white audiences. When does the African reader get a break? When do we read books that aren't geared towards African pain? When I set out to write my book, I wanted to write a novel that documented the rot in publishing and how commercialisation of the post-colonial trauma trend has been to the detriment of not just the African reader but African writers as well. 

I'm passionate about stories that portray women as full human beings managing their passions, challenges, and obligations with grit because I grew up surrounded by a phalanx of them. Those who add “wife” and “mother” to their plate fascinate me all the more, especially as I grow older and better understand the pressures heaped on women. I saw my mother, sister, grandmothers, and aunties in all their complexities, building themselves up as they built families and businesses, starting over when they had to, overcoming the seemingly insurmountable, challenging the status quo, and never giving up. I gravitate toward female characters who share that spirit or grapple with how to get it. 

I'm a poet and creative mentor, and it’s the intensity of poetic language – its expansiveness and limitations – that shows up in my fiction and in the novels I love. Quinn is an exploration of male violence, incarceration, and radical forgiveness. I’ve spent a decade working with long-term prisoners in Scotland, trying to understand and come to terms with notions of justice and responsibility: does guilt begin and end with the perpetrator of a violent act or are we all in some way culpable? How can literary form dig into this question aslant? Can the unsettled mind be a space for innovative thinking?

When I was a university student, I wanted to know how African presidencies function, not only how African presidents acquire and keep power, but also how they imagine it, how they anticipate political battles, who they trust, and who they fear. All too often, the literature focuses on colonial legacy and neo-colonization and describes African presidents with too little agency. As a doctoral researcher, I stumbled on a biography of Jomo Kenyatta and got caught by the intricacies of his political career. Since then, Kenyan political history has become my area of specialization, and while my background in political science keeps inspiring me, I have a passion for historical writing.

As a feminist academic and activist, I am personally committed to the cause of reproductive freedom. Professionally, I've spent the past seven years carrying out research on abortion pills and their travels around the globe. This research involved more than eighty interviews with activists and doctors across the world, as well as analysis of many different text sources. My work has also taken me into activist spaces across Europe, as a volunteer with the Abortion Support Network. Although I entered the topic of reproductive rights through my interest in abortion, reading widely in the field has led me to pursue research interests in reproductive and biomedical technologies in other areas of sexual and reproductive health. 

I was passionate about anthropology in the 1970s when I was in my twenties and am still passionate about anthropology in the 2020s in my seventies. Throughout the years I have expressed my passion for anthropology in university classrooms, in public lectures, and in the 16 books I have published. As my mind has matured, I understand more and more fully just how important it is to write powerfully, cogently, and accessibly about the wisdom of others. In all my books I have attempted to convey to the public this fundamental wisdom, none more so than in my latest book, Wisdom from the Edge: Writing Ethnography in Turbulent Times.