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I studied reporters' memoirs of Africa for my PhD in journalism at the University of East Anglia, under Giles Foden, author of The Last King of Scotland. I was fascinated by how foreign correspondents are aided by local reporters, who unfortunately often don’t receive much credit or commensurate pay for their contributions to international news. This inequality is changing, but not quickly enough, and it affects the kinds of news that we all receive, and how western lives, for example, are often respected more than others.
I promised my publisher, who edited Kapuscinski, a book as elemental, pure, and wild as Kapuscinski's seminal account of the Angolan independence struggle in 1975.
Though I’m not sure I succeeded, Breakup is that book.
I was inspired by this classic of reportage for its simple and profound observations of the city, and countryside, trying to make sense of the chaos and what Angolans, in Portuguese, called confusão.
In 1975, Angola was tumbling into pandemonium; everyone who could was packing crates, desperate to abandon the beleaguered colony. With his trademark bravura, Ryszard Kapuscinski went the other way, begging his was from Lisbon and comfort to Luanda—once famed as Africa's Rio de Janeiro—and chaos.Angola, a slave colony later given over to mining and plantations, was a promised land for generations of poor Portuguese. It had belonged to Portugal since before there were English-speakers in North America. After the collapse of the fascist dictatorship in Portugal in 1974, Angola was brusquely cut loose, spurring the catastrophe of a still-ongoing civil…
I’ve been a journalist since high school and I spent 33 years as a reporter for The Washington Post, mostly as a foreign correspondent based in Asia, Africa, and Paris. My book Out Of America chronicled my three years as a correspondent in Africa during some of its most tumultuous events, the Somalia intervention, and the Rwanda genocide. I’ve always thought a well-crafted novel often captures a place or a time better than nonfiction — books like The Quiet American about the Vietnam War, and The Year of Living Dangerously about Indonesia. I now teach a university course on The Role of the Journalist in Popular Fiction, Film and Comics.
Okay, this fine novel is only partially set in Africa, in Uganda, where intrepid fictional journalist Daniel McFarland treks into the jungles to find and interview the leader of a rebel group based on the Lords Resistance Army. Told from the vantage point of world-weary photographer Nicky Bettencourt, the action later shift to East Timor during the fight for independence against Indonesia. This novel comes as close as any to describe the real lives of foreign correspondents — the unnecessary risks, the loneliness of life lived constantly on the road. It’s beautifully written, a good read, and reeks of authenticity.
Photojournalist Nicky Bettencourt thinks he's seen everything until he teams up with the legendary war correspondent Daniel McFarland. To Daniel, the story is everything; people come later. But after a plane crash nearly takes his life, Daniel begins to see the world in a different way. He falls in love with Julia Cadell, an idealistic British doctor, and together they find refuge at an old canal house in the center of London. Soon after, Nicky, Daniel, and Julia are called to East Timor, where the government has fled and the entire country is a war zone, and Daniel must decide…
I’ve been a journalist since high school and I spent 33 years as a reporter for The Washington Post, mostly as a foreign correspondent based in Asia, Africa, and Paris. My book Out Of America chronicled my three years as a correspondent in Africa during some of its most tumultuous events, the Somalia intervention, and the Rwanda genocide. I’ve always thought a well-crafted novel often captures a place or a time better than nonfiction — books like The Quiet American about the Vietnam War, and The Year of Living Dangerously about Indonesia. I now teach a university course on The Role of the Journalist in Popular Fiction, Film and Comics.
This sleeper of a novel creates the fictional East African country of Umbika, with its charismatic strongman who everyone refers to as “His Excellency, the Life President”, in a thinly veiled resemblance to Malawi under the dictatorship of the late Hastings Banda. Small wonder for the comparison, since the author was a foreign service officer in Malawi before turning full-time to writing. The journalist in this fast-paced story is an outspoken African-American activist and columnist named Maurice Hightower, and the story revolves around the career American diplomat, Joe Kellerman, who gets the unwanted job of escorting Hightower around Umbika in the middle of an escalating civil war.
The Distance between Stars is the story of two Americans divided by history and skin color. Joe Kellerman, white, is an accomplished diplomat who has spent his career solving difficult problems in sub-Saharan countries. Maurice Hightower, black, is a prize-winning but controversial journalist who has spent his life exposing injustice in the United States. During a fact-finding trip to an African country that is quickly sliding towards civil war, and where the U.S. government is accused of supporting the increasingly violent opposition, Hightower travels alone into the bush and then disappears. The dangerous assignment of finding the missing man and…
I always wanted to be a spy, but as I scare easily and can’t keep a secret, it was never going to happen. My respect and fascination with the intelligence community has never abated however, and I will never pass up an opportunity to engage with spy-related content. From going to spy museums across the globe to attending lectures to watching the latest entertaining (and totally unrealistic) spy flick, I love it all. I channel that love into writing humorous spy novels that feature fun, fearless females and ripped-from-the-headlines scenarios.
I love this book because Wilkinson takes politics, race, romance, along with the good, the bad, and the ugly of the intelligence community and wraps it up in a bow of deeply evocative writing that kept me twisted up.
Just a quick teaser to show my love of her writing: “I unlocked the safe beneath my desk, grabbed my old service automatic, and crept toward my bedroom doorway, stealthy until I was brought to grief by a Lego Duplo that stung the sole of my foot.” [Insert sobbing emoji here for how much I love this line] Her writing had me jabbing my husband every few minutes, going, “Read this. READ THIS!”
I loved that each answer solved in the book simply raised more questions, and I was left wondering if the answers were even answers in the first place. The abrupt ending is the satisfyingly frustrating icing on the…
I’ve been a journalist since high school and I spent 33 years as a reporter for The Washington Post, mostly as a foreign correspondent based in Asia, Africa, and Paris. My book Out Of America chronicled my three years as a correspondent in Africa during some of its most tumultuous events, the Somalia intervention, and the Rwanda genocide. I’ve always thought a well-crafted novel often captures a place or a time better than nonfiction — books like The Quiet American about the Vietnam War, and The Year of Living Dangerously about Indonesia. I now teach a university course on The Role of the Journalist in Popular Fiction, Film and Comics.
This laugh-out-loud story of a bumbling British diplomat, Morgan Leafy, in the fictitious African country of Kinjanja evokes the immediate British post-colonial with a dark wit and a sense for the absurd. The colonial expats depicted in the book are all thoroughly dislikable, but as Leafy gets mired deeper and deeper into problems, I found myself rooting for him to find a way out. His characterisation of the expats and the locals, and the hilarious interactions between them, seem searingly accurate, probably because Boyd grew up in Nigeria and Ghana, giving him rich material for his first novel.
A funny first novel about the misadventures surrounding Morgan Leafy, a young, overweight, oversexed British diplomat in West Africa. The book won the 1981 Whitbread Literary Award and the 1982 Somerset Maugham Award.
I write about unusual places, unusual people, and unusual stories. Places, people, and stories that are rough, different, authentic, often forgotten, full of troubled history and a magical present.
Set in an unnamed and quintessential African country that after independence is descending into chaos, this is one of the most unforgettable books about Africa, but also often classified as one of the best novels of the English language of the last 40 years. A portrait that will never be dated, written in a Conrad type of dry yet very rich style, the Africa of Nobel laureate Naipaul is not for those who want to see things through rose-tinted lenses, but is a profoundly human portrait where the there is no space for clichés.
Set in an unnamed African country, V. S. Naipaul's A Bend in the River is narrated by Salim, a young man from an Indian family of traders long resident on the coast. He believes The world is what it is; men who are nothing, who allow themselves to become nothing, have no place in it. So he has taken the initiative; left the coast; acquired his own shop in a small, growing city in the continent's remote interior and is selling sundries - little more than this and that, really - to the natives.
I studied reporters' memoirs of Africa for my PhD in journalism at the University of East Anglia, under Giles Foden, author of The Last King of Scotland. I was fascinated by how foreign correspondents are aided by local reporters, who unfortunately often don’t receive much credit or commensurate pay for their contributions to international news. This inequality is changing, but not quickly enough, and it affects the kinds of news that we all receive, and how western lives, for example, are often respected more than others.
I met Aidan in Bunia, on the frontline of the Congo war, where he kindly offered his help, and then, not knowing who he was, I discovered his memoir in the Nairobi airport.
His story of starting as a lowly stringer and working his way up resonated with my own journey as a stringer for The AP in DR Congo, a journey I recount in my first memoir, Stringer.
"Congo is a tough place," he told me in Bunia, "not many people move here to report." I enjoyed reading a book by a reporter who wanted to help young stringers.
A deeply affecting memoir of a childhood in Africa and the continent's horrendous wars, which Hartley witnessed at first hand as a journalist in the 1990s. Shortlisted for the prestigious Samuel Johnson Prize for Non-fiction, this is a masterpiece of autobiographical journalism.
Aidan Hartley, a foreign correspondent, burned-out from the horror of covering the terrifying micro wars of the 1990s, from Rwanda to Bosnia, seeks solace and solitude in the remote mountains and deserts of southern Arabia and the Yemen, following his father's death. While there, he finds himself on the trail of the tragic story of an old friend…
I write about unusual places, unusual people, and unusual stories. Places, people, and stories that are rough, different, authentic, often forgotten, full of troubled history and a magical present.
The “other Naipaul”, the younger brother who died too young to compete with VS, managed to leave behind some extraordinary examples of his talent. North of South discovers what 'liberation', 'revolution,' and 'socialism' meant to the ordinary people of Africa and it is the book of a contrarian who, brutally honest to the point of being dismissive, travels across a continent on a brink of change, but instead of adopting the easy line of praising it explains why he is not impressed. If you like irony that verges into sarcasm, you can’t miss it.
In the 1970s Shiva Naipaul travelled to Africa, visiting Kenya, Tanzania and Zambia for several months. Through his experiences, the places he visited and his various encounters, he aimed to discover what 'liberation', 'revolution' and 'socialism' meant to the ordinary people. His journey of discovery is brilliantly documented in this intimate, comic and controversial portrayal of a continent on the brink of change.
After reading travel books that voyaged beyond mere tourism into the life of the land, its people, and its histories, I found myself longing to launch my own journeys. I took a thousand-mile canoe trip with my son following the 1673 route of the French explorers Marquette and Joliet; I crossed the Rockies with two sons by foot, mountain bike, and canoe following Lewis and Clark and their Nez Perce guides; I took to sea kayak and pontoon boat with a son and daughter, 400 miles along the Gulf Coast in pursuit of the 1528 Spanish Narvaez Expedition. Writing of these journeys gave me the chance to live twice.
Beryl Markham was a bush pilot in Africa during the early years of aviation. She is a marvelous writer and an adventurous soul. Ernest Hemingway wrote of her: “Did you read Beryl Markham’s book? I knew her fairly well in Africa and never would have suspected that she could put pen to paper except to write in her flyer’s log book. As it is, she has written so well, and marvelously well, that I am completely ashamed of myself as a writer.... She can write rings around all of us who consider ourselves writers.”
Hemingway is right. This is the best written travel book I’ve read. I grew up in what is now called South Sudan, not far from Kenya where Markham grew up. Her writing brings back the land and people, the weather and hardships, the beauty of that land and its lonely skies.
WEST WITH THE NIGHT appeared on 13 bestseller lists on first publication in 1942. It tells the spellbinding story of Beryl Markham -- aviator, racehorse trainer, fascinating beauty -and her life in the Kenya of the 1920s and 30s.
Markham was taken to Kenya at the age of four. As an adult she was befriended by Denys Finch-Hatton, the big-game hunter of OUT OF AFRICA fame, who took her flying in his airplane. Thrilled by the experience, Markham went on to become the first woman in Kenya to receive a commercial pilot's license.
I am a South African historian of Russian origin, who has studied and taught African history since the late 1960s. For us, the Russians, Africa was then an alluring terra incognita of wild nature, adventure, human suffering, struggles, and tenacity. I have studied how Africa became what it is for 50 years and lived in it for 30. I have learnt a lot about it, but for me it is still a land of human suffering, struggles and tenacity, wild nature, and adventure, and it is still alluring.
Michela Wrong’s story centres on one country, Kenya, and one person, but it resonates throughout the continent and far beyond it – everywhere, where corruption is as systemic, as it is in Kenya. John Githongo, a journalist who fought corruption, was appointed to head an anti–corruption unit by a new president. As in every decent detective novel, involving corruption, the hero discovers that the roots lead to the very top, finds the proof and, after many adventures, publicizes it. Only this is not a novel, though it certainly reads like one. Wrong’s hero is a real person, who did what he did and who suffered for it. This is a story of personal honesty, decency, and courage. But this is also an inside story of how many African societies work.
A gripping account of both an individual caught on the horns of an excruciating moral dilemma and a continent at a turning point.
When Michela Wrong's Kenyan friend John Githongo appeared one cold February morning on the doorstep of her London flat, carrying a small mountain of luggage, it was clear something had gone very wrong in a country regarded until then as one of Africa's few budding success stories.
Two years earlier, in the wave of euphoria that followed the election defeat of long-serving President Daniel arap Moi, John had been appointed Kenya's new anti-corruption czar. In choosing this…
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