Housegirl

Shortlisted for the Desmond Elliott Prize • Longlisted for the Dylan Thomas Prize • Nominated for the Edinburgh First Book Award • One of The Observer's "New Faces of Fiction" • One of The Millions' "Most Anticipated Books of the Year" • One of The Guardian's "Best Summer Books" (Selected by Kayo Chingonyi and Joe Dunthorne) • One of Library Journal's "Most Anticipated Fall Debuts" • One of The Observer's Best Books of the Year • An NPR "Staff Pick" and One of the NPR Book Concierge's "Best Books of the Year" A Go On Girl! Book Club Selection "Immensely readable...A refreshing story about coming of age in spite of conflicting ideas of what 'growing up' means."—Buzzfeed (The Best Books of Fall) A moving and unexpectedly funny exploration of friendship and family, shame and forgiveness, Michael Donkor's debut novel follows three adolescent girls grappling with a shared experience: the joys and sorrows of growing up. Belinda knows how to follow the rules. As a housegirl, she has learned the right way to polish water glasses, to wash and fold a hundred handkerchiefs, and to keep a tight lid on memories of the village she left behind when she came to Kumasi. Mary is still learning the rules. Eleven-years-old and irrepressible, the young housegirl-in-training is the little sister Belinda never had. Amma has had enough of the rules. A straight-A student at her exclusive London school, she has always been the pride of her Ghanaian parents—until now. Watching their once-confident teenager grow sullen and wayward, they decide that sensible Belinda is the shining example Amma needs. So Belinda must leave Mary behind as she is summoned from Ghana to London, where she tries to impose order on her unsettling new world. As summer turns to autumn, Belinda and Amma are surprised to discover common ground. But when the cracks in their defenses open up, the secrets they have both been holding tightly threaten to seep out.

A stunning New York Times bestselling novel that intertwines the stories of an escaped slave in 1852 Virginia and an ambitious young lawyer in contemporary New York and asks: is it ever too late to right a wrong? Lynnhurst, Virginia, 1852. Seventeen-year-old Josephine Bell decides to run away from the failing tobacco farm where she is a slave and nurse to her ailing mistress, the aspiring artist Lu Anne Bell. New York City, 2004. Lina Sparrow, an ambitious first-year associate in an elite law firm, is given a difficult, highly sensitive assignment that could make her career: finding the “perfect plaintiff” to lead a historic class-action lawsuit worth trillions of dollars in reparations for descendants of American slaves. It is through her father, the renowned artist Oscar Sparrow, that Lina discovers Josephine Bell and a controversy rocking the art world: are the iconic paintings long ascribed to Lu Anne Bell really the work of her house slave, Josephine? A descendant of Josephine’s—if Lina can locate one—would be the perfect face for the reparations lawsuit. While following the runaway house girl’s faint trail through old letters and plantation records, Lina finds herself questioning her own family history and the secrets that her father has never revealed: how did Lina’s mother die? And why will he never speak about her?

A rich ethnographic portrait of food-provisioning processes in a contemporary African city, offering valuable lessons about the powerful roles of gender, migration, exchange, sex, and charity in food acquisition. Based on anthropologist Karen Coen Flynn's study of Mwanza, Tanzania, this work draws on the personal accounts of over 350 market vendors, low, middle and high-income consumers, urban farmers as well as those, including children, who live on the streets. This strikingly original work offers interdisciplinary appeal to a broad audience of both students and professionals interested in anthropology, African studies, urban studies, gender studies and development economics.

Hilda Satt Polacheck's family emigrated from Poland to Chicago in 1892, bringing their old-world Jewish traditions with them into the Industrial Age. Throughout her career as a writer and activist, Polacheck (1882-1967) never forgot the immigrant neighborhoods, the markets, and the scents and sounds of Chicago's West Side. Here, in charming and colorful prose, she recounts her introduction to American life and the Hull-House community, her friendship with Jane Addams, her marriage, her support of civil rights, woman suffrage, and the Women's International League for Peace and Freedom, and her experiences as a writer for the WPA.

Moving between Ghana and London, Hold is an intimate, powerful coming-of-age novel. It's a story of friendship and family, shame and forgiveness; of learning what we should cling to, and when we need to let go. Belinda knows how to follow the rules. As a housegirl, she has learnt the right way to polish water glasses, to wash and fold a hundred handkerchiefs, and to keep a tight lid on memories of the village she left behind when she came to Kumasi. Mary is still learning the rules. Eleven-years old and irrepressible, the young housegirl-in-training is the little sister Belinda never had. Amma has had enough of the rules. A straight-A pupil at her exclusive South-London school, she has always been the pride of her Ghanaian parents. Until now. Watching their once-confident teenager grow sullen and wayward, they decide that sensible Belinda might be just the shining example Amma needs. So Belinda is summoned from Ghana to London, and must leave Mary to befriend a troubled girl who shows no desire for her friendship. She encounters a city as bewildering as it is thrilling, and tries to impose order on her unsettling new world. As the Brixton summer turns to Autumn, Belinda and Amma are surprised to discover the beginnings of an unexpected kinship. But when the cracks in their defences open up, the secrets they have both been holding tightly threaten to seep out.

Giving voice to the women who worked as maids—known as "house-girls" in the Pacific islands of Vanuatu—is the goal of this innovative work. The stories the women tell resonate with the experiences of domestic workers around the world; their histories contribute to theorizing intimacy and traveling culture; and their struggles with adverse working conditions help find solutions, which are outlined at the end of the book. In addition to contributions by the editors, workshop reports by eleven ni-Vanuatu women fieldworkers and ten others who spoke about their lives as house-girls are included. These reports detail ni-Vanuatu women’s experiences as domestic workers during the colonial period. One chapter presents an elderly French woman’s recollections of the Vietnamese orphan who grew up in her home and worked as a house-girl. Material from contemporary house-girls appears in a final chapter based on research conducted in Port Vila.

The Sabbath Day is a story about a man called Dabire K. Joseph. But he was giving the name Tegawende in the story because he believed in god. He named one of his daughters God-see. As she was growing up,she started to think about her family, situation, and their relationship with neighbors and friends, and it seemed to her that the more people lean toward God, the more they also struggle against evil. Then she end up in a village on a Sabbath day when she got chased by a giant snake.This was supposed to be a day of religious observation, yet the giant snake was about to eat her.So she thought there must be a struggle between good and evil during the days that people stop working and worship their god.And these days are the Sabbath Days. So she calls all the unpleasant moments shehad witnessed the Sabbath Days.