LITMIR.BIZ

Mũkoma wa Ngũgĩ’s Nairobi Heat was heralded as “the work of a genius craftsman and wordsmith” by New Africa Magazine. In Killing Sahara we once again join Ishmael Forfona – the world-weary US detective – and O – his irrepressible Kenyan counterpart – as they set up their sleuthing business together in Nairobi.
When a body is discovered half-eaten by animals in Ngong Forest, Ishmael and O are called in as consultants by the Kenyan police. For this body is not any body. Not anybody at all, in fact. The forest is notorious as a place of execution – the great and the not so good of the Kenyan underworld almost always eventually wash up there with a bullet in them – but none of the crime bosses are MIA and no one seems to know anything about the body in Ngong. What starts out as a simple case of identifying a corpse will lead Ishmael and O across continents and deep into a plot to overthrow the Kenyan government. Written in Wa Ngũgĩ’s distinctively fast and furious style, it promises to be a hell of a ride.

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In the fictional East African Kwatee Republic of the 1990s, the dictatorship is about to fall, and the nation’s exiles are preparing to return. One of these exiles, a young man named Kalumba, is a graduate student in the United States, where he encounters Mrs. Shaw, a professor emerita and former British settler who fled Kwatee’s postcolonial political and social turmoil. Kalumba’s girlfriend, too, is an exile: a Puerto Rican nationalist like her imprisoned father, she is an outcast from the island. Brought together by a history of violence and betrayals, all three are seeking a way of regaining their humanity, connecting with each other, and learning to make a life in a new land. Kalumba and Mrs. Shaw, in particular, are linked by a past rooted in colonial and postcolonial violence, yet they are separated by their differing accounts of what really happened. The memory of each is subject to certain lapses, whether selective or genuine. Even when they agree on the facts—be they acts of love, of betrayal, or of violence—each narrator shapes the story in his or her own way, by what is left in and what is left out, by what is remembered and what is forgotten.

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