Here are 100 books that Tales of Yoruba Gods & Heroes fans have personally recommended if you like
Tales of Yoruba Gods & Heroes.
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Once upon a time, I didn’t know any stories from Africa. I found one, and it stirred me to my core. I found others and read them to my children. These were oral stories that had been trapped between the covers of books. One day, I discovered the oral tradition – stories told as they were originally heard. They had been liberated from the page and flew into my heart. A storyteller was born in me. I went on my own journey to collect stories in Ghana. I now tell stories from traditions around the world.
This wonderful South African storyteller enchanted me when I heard her telling stories at the Toronto Storytelling Festival. I loved the empowering story, "Khethiwe, Queen of the Imbira", about a girl who defiantly plays an instrument claimed as the exclusive purview of men. Another is the story of a woman who must go to the depths of the ocean to bring the magic of stories to the world. These, with eight other beautifully told tales, are included in a colourfully illustrated book.
This folklore story collection offers a feast of enjoyment for young South African readers. Ten enchanting tales, steeped in the imaginative richness of African storytelling: Where did the first stories in the world come from? How did little Tortoise win the respect of all the other animals? Who was Nanana Bo Sele Sele and what happened when she built her house in the middle of the animals' road? Why was young Crocodile so determined to get hold of Monkey's heart? Told with inimitable aplomb by South Africa's most popular performance storyteller and illustrated by a lively selection of KwaZulu-Natal artistic…
Once upon a time, I didn’t know any stories from Africa. I found one, and it stirred me to my core. I found others and read them to my children. These were oral stories that had been trapped between the covers of books. One day, I discovered the oral tradition – stories told as they were originally heard. They had been liberated from the page and flew into my heart. A storyteller was born in me. I went on my own journey to collect stories in Ghana. I now tell stories from traditions around the world.
I found this book moving. On one level it is the mythology of the planet we know as Venus, from the perspective of the Maasai people. On another level it speaks to the condition of age and loneliness. And I love the illustrations, which take the reader into the landscape of East Africa and show us the humanity of the old man. Like all the best tales, it can be enjoyed by both children and adults.
Seaching the sky for a familiar star, an old man encounters a mysterious boy, Kileken. As he comes to love the boy as a son, he agrees to let him keep the one thing he owns: a secret.
Once upon a time, I didn’t know any stories from Africa. I found one, and it stirred me to my core. I found others and read them to my children. These were oral stories that had been trapped between the covers of books. One day, I discovered the oral tradition – stories told as they were originally heard. They had been liberated from the page and flew into my heart. A storyteller was born in me. I went on my own journey to collect stories in Ghana. I now tell stories from traditions around the world.
This book features some epic stories from Africa. Not all the stories are given in their entirety, but there is enough to give a good picture of what transpires in tales that would traditionally be told over several evenings. Ford presents an analysis of some African tales not usually found in collections, and I enjoyed this deep dive into the meanings hidden in the stories.
In this remarkable book, Clyde Ford restores to us the lost treasure of African mythology, bringing to life the ancient tales and showing why they matter so much to us today.African myths convey the perennial wisdom of humanity: the creation of the world, the hero's journey, our relationship with nature, death, and resurrection. From the Ashanti comes the moving account of the grief-stricken Kwasi Benefo's journey to the underworld to seek his beloved wives. From Uganda we learn of the legendary Kintu, who won the love of a goddess and created a nation from a handful of isolated clans. The…
Once upon a time, I didn’t know any stories from Africa. I found one, and it stirred me to my core. I found others and read them to my children. These were oral stories that had been trapped between the covers of books. One day, I discovered the oral tradition – stories told as they were originally heard. They had been liberated from the page and flew into my heart. A storyteller was born in me. I went on my own journey to collect stories in Ghana. I now tell stories from traditions around the world.
When it comes to oral literature from the African continent, I haven’t seen another collection that matches this in-depth and breadth. Here you will find a fuller version of one of the Soninke epics discussed in the book by Clyde W. Ford. Here are the stories of the Akan, and many other African peoples. I particularly enjoyed the sayings and humorous anecdotes.
A large, distinctive collection of tales, traditions, lore, legends, folk wisdom, and poetry captures the oral heritage of the peoples of Africa, including the Hause, Kanuri, Ashanti, Mbundu, Zulu, Hottentot, and Mensa tribes. Reprint. PW. IP.
I was a child who was very dissatisfied with the idea that this world, with its rules and routines, is all there is. Sunday school filled me with a fear of hell, and heaven sounded boring, a lot of people wearing white and singing. This forced me into the world of fairy and folktales: spirits, tricksters, masquerades, elves, werecreatures, and merpeople. It was all so exciting and, more than that, comforting. The just were rewarded, and the wicked were punished within the timeframe of the story, not later when they died.
I haven't read it in twenty years, having been introduced to Tutuola's work as part of my undergrad degree. It's a book full of ghosts and the sort of mind that perceives and interacts with them. It basically epitomises the saying, 'Fools rush in where angels fear to tread,' but is the palm-wine drinkard a fool, brave, desperate, or just very, very drunk when he wanders off on his quest through the spirit world? Or is he all of the above?
This classic novel tells the phantasmagorical story of an alcoholic man and his search for his dead palm-wine tapster. As he travels through the land of the dead, he encounters a host of supernatural and often terrifying beings - among them the complete gentleman who returns his body parts to their owners and the insatiable hungry-creature. Mixing Yoruba folktales with what T. S. Eliot described as a 'creepy crawly imagination', The Palm-Wine Drinkard is regarded as the seminal work of African literature.
'Brief, thronged, grisly and bewitching.' Dylan Thomas, Observer
'Tutuola's art conceals - or rather clothes - his purpose,…
I was born and raised in Benin City, Nigeria, surrounded by storytellers who offered me a healthy diet of oral, written, and visual tales. I grew up fascinated with stories of all kinds, especially the fantastic. When I began to tell my own stories, I gravitated toward the speculative, returning to where I first learned about stories. My novels David Mogo, Godhunter and Son of the Storm offer glimpses into the way I braid history and speculation. I have an MFA in Creative Writing from the University of Arizona, and am currently a professor of the same at the University of Ottawa in Ontario, where I live.
Let’s start from the beginning, why don’t we? Any list of fantasy by authors of African descent would, in my opinion, be incomplete without the inclusion of the original oral tales of fantastic beings and events that sparked our imaginations.
Ògbójú Ọdẹ nínú Igbó Irúnmọlẹ̀, the Yoruba-language novel (published in 1938, and translated by Wole Soyinka in 2013 to become Forest of a Thousand Daemons) features the hallmarks of what we’ve come to love in contemporary fantasy: monsters and battles, spellbinders and royalty, warriors and heroes, all presented like the campfire tale that it is.
I remember reading this and immediately regretting that I couldn’t experience it for the first time again. It’s that exhilarating.
"His total conviction in multiple existences within our physical world is as much an inspiration to some of the most brilliant fiction in Yoruba writing as it is a deeply felt urge to 'justify the ways of God to man.'"--Wole Soyinka, translator and Nobel Laureate A classic work of African literature, Forest of a Thousand Daemons is the first novel to be written in the Yoruba language. First published in Nigeria in 1939, it is one of that country's most revered and widely read works, and its influence on Nigerian literature is profound, most notably in the works of Amos…
I’m a South Asian writer who grew up in dry plains and the desert, so when I saw the ocean for the first time—it was an absolute shock to my senses. I was drawn to its vastness, its strangeness. Everything about our seas is fascinating, from the way they sustain life on the planet to the alien creatures that inhabit them. Since I’m a reader, I began to look for books featuring seas, and after nonfic ones, found fantasy books that were set in imaginative water-based worlds. This lifelong love has now led to my own debut being an oceanic fantasy. So I hope you enjoy this list. :)
Skin of the Seais a beautiful blend of West/Central African mythology and alternate history to give us an imaginative story featuring a mermaid protagonist. Simidele is a water spirit, Mami Wata, whose job is to gather the souls of [enslaved] people who die on the seas. This concept alone makes the book interesting, but it is also a fast-paced story that never ignores its most powerful aspect—the mythology and the fantastic ocean world. The story is lyrical and atmospheric, and takes you along for an unforgettable journey into the waters.
INSTANT NEW YORK TIMES BESTSELLER * The must-read Black mermaid fantasy series that #1 NYT bestselling author Nicola Yoon calls "epic and original," in which one mermaid takes on the gods themselves. Perfect for fans of Children of Blood and Bone and Beasts of Prey.
Simi prayed to the gods, once. Now she serves them as Mami Wata-a mermaid-collecting the souls of those who die at sea and blessing their journeys back home.
I love reading adaptations of classics which complicate the original texts in interesting ways, I have just written one myself, The Middle Daughter. Transcultural adaptations, particularly remind us that we are all members of one human family, dealing with the same kind of problems across time and space and cultures. In these times of deepening polarization, it's important to see that there's more that unites us than not.
I read this play in high school, and then later, a university theatre group performed it at our school. It was one of the first plays I ever watched.
It’s a Yoruba (Nigerian) adaptation of Sophocles’ Oedipus Rex (and was in fact my introduction to Oedipus Rex) with Yoruba gods replacing the Greek ones, and like Oedipus Rex is a powerful commentary on how inescapable fate is.
In this play, the theme of Sopocles' "Oedipus Rex" is skillfully transplanted to African soil. King Odewale's progress towards knowledge of the murder and incest that must be expiated before his kingdom can be restored to ealth is unfolded with a dramatic intensity heightened by the richness of the play's Nigerian setting. It had its first performance in Nigeria at the Ife Festival of the Arts in 1968, has since been staged with great success in other West African countries, and was awarded the first prize in the African Arts/Arts d'Afrique playwriting contest in 1969.
I’m from Mauritius, of Indian heritage, and proudly African. I remember reading my first chick-lit romance circa 2001, thinking Mauritius has everything—the drama, the over-the-top characters, love matches, exciting backdrops both physical & cultural—to create great rom-coms & uplifting fiction…but where were such stories? A decade later, I was helping other African authors showcase their feel-good books by creating an imprint dedicated to African romance with a US publisher. I’m an author who loves to write about her country & life experiences, and I have the perfect day job for a bookworm as an editor who specializes in editing romance stories for indie authors & publishers alike.
Imagine if Bridget Jones had been African–Nigerian, to be more precise, and instead of just a nosy/meddling mother, she had a huge Yoruba family to contend with! I absolutely adored the POV of the heroine, Nifemi, in this tale! I could read her stream-of-consciousness chapter starts forever and not be bored.
Feyi Aina writes with humour and that special touch of "down to Earth" that makes her heroine resonate. Anyone with a big, traditional family–whether Nigerian, Indian, or even Irish–will totally get Nifemi and her struggle to find what love means and where it’s waiting for her.
As a Moldovan emigrant growing up in Greece, I believed that Western institutions were centers of excellent knowledge. After studying in the USA and the UK and conducting research with Muslim and Christian communities in Africa, I became aware of colonial, ethnocentric, and universalizing tendencies in gender, religion, and domestic violence studies and their application in non-western contexts. International development had historically followed a secular paradigm congruent with Western societies’ perception of religion and its role in society. My work has since sought to bridge religious beliefs with gender analysis in international development work so that the design of gender-sensitive interventions might respond better to domestic violence in traditional religious societies.
Oyèrónké Oyěwùmí’s was the first book I encountered when I started to critically engage with Western feminist scholarship as a Master's student in the UK.
This book made a major intervention by challenging theories of gender in Western social sciences and questioning their relevance to African societies. I especially loved the book because Oyěwùmí offered a detailed presentation of gender realities in the Oyo-Yorùbá society of Nigeria that paid attention to human relations holistically and situationally and did not assume gender inequality on the basis of female/male bodies.
A must-read analysis for anyone working to decolonize gender theory.
The "woman question", this book asserts, is a Western one, and not a proper lens for viewing African society. A work that rethinks gender as a Western contruction, The Invention of Women offers a new way of understanding both Yoruban and Western cultures. Oyewumi traces the misapplication of Western, body-oriented concepts of gender through the history of gender discourses in Yoruba studies. Her analysis shows the paradoxical nature of two fundamental assumptions of feminist theory: that gender is socially constructed in old Yoruba society, and that social organization was determined by relative age.
