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As a high-performing, excellence-driven, successful black woman, being in control of everything in her life was crucial to her survival and success for Nozipho Tshabalala. For much of her life, it had always served her well until it no longer did. 

The book begins with her receiving the news of her mother’s passing while she stood on the biggest stage of her career. This formative event sends her into a spiral which asks her to reevaluate her ideas of success and the price of these achievements.

We sat down in conversation with Nozipho Tshabalala about her story of burning, of breaking, of becoming. Having described the writing this memoir as an act of deep vulnerability — a labour of love, we were interested in the process of unbecoming and breaking open the things held tightly to for so long.

We explored the journey of soul-searching and discovering new and old but also one of truth- for ourselves and our loved ones. Much of the book centres around confrontation, of self, of narrative and of hidden pain with a journey towards healing made possible by this.

Nozipho like so many of us, stands at the crossroads between certainty and trust, between holding on and finally releasing what no longer serves you, and invites us with truth and vulnerability to come along.

Beyond the things she has let go of,  After the Fires is an exploration of the things we find within ourselves, our loved ones and our journeys to becoming. It honours the complexity of womanhood while celebrating the possibility of becoming exactly who you were meant to be, even when that person looks nothing like what you imagined.

In a beautiful, tender conversation, we sojourn with Nozipho to the other side, after the fires finding freedom, clarity, and a reclamation of voice and self. Nozipho demonstrates how surrender becomes not an act of defeat but a pathway to freedom.

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In the captivating 100th episode, we engaged in a profound conversation with Andile Cele, the author of the compelling debut novel Braids and Migraines.

This enlightening discussion delved into a rich exploration of identity, mental health, and the complexity of human relationships.

Braids and Migraines chronicles the journey of a young girl navigating life in a post-apartheid township while battling personal and societal challenges.

Despite the promise of a post-racial South Africa, the protagonist experiences the violence of racism, misogynoir and microagressions at school with white women at the centre of this violence. 

The episode  concludes with a hopeful reflection on the book's potential impact, emphasizing the power of literature to heal and initiate change.

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“Part theory, part manifesto, part history” – this book sparked a black feminist movement in Brazil. Patricia Hill Collins writes: “Where We Stand boldly claims a space for Black feminism in Brazil. This long-awaited translation offers new audiences a rare opportunity to encounter the rich ideas of an emerging generation of Black women academics and activists who are fearless in pushing for social change.”

Djamila Ribeiro is an activist, writer and coordinator of the Plural Feminisms initiative. She is a university professor who has worked at several institutions, such as the Pontifical Catholic University of São Paulo and New York University. Ribeiro is the curator of the Feminismos Plurais Collection and the author of books on Black feminism, anti-racism, and her own life story. Her works, translated into several languages, have sold over 1 million copies.

In a society shaped by the legacies of enslavement, white supremacy, and sexism, who has the right to a voice? In this book, Djamila Ribeiro brings forth a powerful disruption into conversations on the intersection between race, power and identity: the concept of “speaking place.” 

With a particular focus on her native Brazil, Ribeiro uses the  speaking place to introduce the the idea that everyone has a social position in the world and that what we can say, and how it is received by others, depends on it. Ribeiro chronicles the evolution of Black feminist, exploring the ways that Black women have been silenced, ignored, and punished for speaking.
 
Building on feminist standpoint theory, and in conversation with the works of Sojourner Truth, bell hooks, Audre Lorde, and others, Ribeiro joins the Cheeky Natives to invite all of us to recognise where we stand, to imagine geographies different from those we’ve inherited, and to speak a more humane world into being.

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In a world where the lines between privacy and exposure blur increasingly, Onyi Nwabineli's latest novel, "Allow Me to Introduce Myself," offers a profound exploration of identity, familial bonds, and the often untidy experiences of coming of age. 

The novel centers around the complex world of Anuri, a child raised in the public eye as the offspring of a popular mommy blogger. It is with this backdrop that discussions about identity, the cost of lost privacy, and the pursuit of autonomy in an increasingly digital world percolate. Onyi keenly addresses these issues, weaving them intricately into Anuri's journey. Throughout the book, grief and identity are ever present.  

Onyi also challenges traditional narratives of coming of age, highlighting that identity formation doesn't stop when one reaches adulthood.  Onyi highlights the privilege and importance in the luxury to make mistakes away from the limelight.

Onyi writes so tenderly on the significance of chosen family, showing them as a refuge and a source of unconditional love. The novel beautifully portrays the support Anuri receives from her friends and her aunt illustrating the undervalued contribution of friendship to one's life.

One of the novels standout moments is Onyi's use of language as a tool to discuss the importance of cultural identity. In an ode to a long and rich cultural tradition, her characters names are deliberately thought out and decided, accompanied by a decision not to include a glossary for non-English terms, encouraging readers to engage actively and seek understanding, much like how English language dominance often keeps its terms undefined.

In the podcast, Onyi reflects on the 'untidy' ending of the book, mirroring real life's unpredictability.

In a thought provoking conversation, Onyi invites readers to embrace complexity and imperfection in life's narratives.

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We sat down for a candid and vulnerable discussion on rebellion, compliance and the intricacies of language and place with Mubanga Kalimamukwento, author of the prize winning Obligations to the Wounded.

The collection transcends physical spaces and time with Mubanga navigating the interplay of memory and geographical place. Her stories, woven in rich narratives, explore the landscapes and lives of Zambian women. 

In an ode to a rich oratory history we explored literary devices and cultural references within her stories.Central to her collection is the theme of rebellious women—those who defy societal norms. Mubanga explores what it means to reimagine the futures of such women, asking readers to contemplate the costs of rebellion and compliance. 

Mubanga offers a unique narrative lens in her writing, showing a child's perspective. She draws on her own childhood experiences with grief and loss to blend childlike observation with adult articulation. In this juxtaposition, there is the contrast of the raw, unfiltered view of a child alongside the nuanced understanding of an adult.

In a wide ranging collection covering themes of identity, loss and becoming, Mubanga writes tenderly and vulnerably, often leaving the reader to ponder.

We sat down with to reflect on the meaning of community, obligation and writing in the in between spaces.

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In ‘The Girl With The Louding Voice’, the book ends with Adunni winning the scholarship and her dream of school seems close to fruition. 

In this triumphant book that breaks the curse of the sophomore novel, Adunni and Ms Tia are back. This story unfolds over the course of 24 hours, with Adunni being forced to return to her home village just hours before the new school year commences. 

As Adunni returns to Ikati, she meets other young women and girls who are similarly forced to account for the crimes: essentially being women and so forced to bear the brunt of society’s blame and anger. 

In a testament to the power of female friendship, we see the relationship between Adunni and Tia evolve, from saviour-rescuee to friends. Despite their differences, these two forge a friendship which sustains the other, providing comfort during some of the most difficult moments in their lives. 

In this novel, Tia is forced to confront her history and the estrangement from her family as a result. Adunni’s own complicated family relationships are brought to the fore. 

An additional layer is the climate crisis and the disproportionate ways in which women are affected.  This book offers a searing commentary on climate change and social injustices which arise. 

Abi Daré won the inaugural Climate fiction prize for her novel And So I Roar. 

Tackling themes of patriarchy, tragedy and justice, Abi Dare is at her best in this sophomore novel. 

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In Zukiswa Wanner’s latest novel, we are confronted with couples battling secrets, betrayals and endings. This book is a meditation on the weight of betrayal, difficult choices and navigating moral quandaries. The characters are flawed, making bad choices and yet still remain relatable.

This page turner deftly manages to deal with a wealth of topics including gendered social behaviour, infidelity and difficult choices. We meet Akani and Owami, who are battling interpersonal and communal pressures while trying to navigate black life. Cultural attitudes and the explanations we give to ourselves and others are the subject of a nuanced critique in this book. 

Zukiswa asks what becomes of a society where men have license to behave unaccountably and what this does to society’s fabric. Interestingly, the women in this book are themselves portrayed to be flawed, human and multifaceted. 

Additionally, Zukiswa explores contemporary and relevant topics such as gender-based violence, the grooming, and sexual abuse. Despite the heavy themes,

 Zukiswa’s writing ensures that the reader never feels preached to.

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Set in Zambia, this novel introduces us to a young lawyer, named Grace and her client Wilbess (Bessy).

After a string of unfortunate events, Bessy has been arrested for having sex with another man. A crime according to Zambian laws which prohibit same sex relations.

Following Grace’s initial visit, Bessy disappears from custody without a trace. 

Thus begins Grace’s fight for justice and reform of a system which subjects the most vulnerable individuals to systemic violence and corruption. 
Grace is tenacious, having grown up in a village and almost being the victim of gendered violence, she is moved by this case. Despite being well-intentioned, her temper often gets in the way of her quest for justice. She is also subjected to sexism and other forms of discrimination because of her age and background.

This fight takes place against the backdrop of the HIV epidemic in Zambia and the stigmatisation of people living with HIV. The author avoids prevailing stereotypes around this disease and humanizes the experiences of those affected without passing moral judgements.

This is a fast paced legal thriller which engages with the themes of queerphobia, interpersonal and state sanctioned violence and family-chosen and biological.

Although humorous and entertaining in many parts, the book is ultimately heartbreaking as readers are forced to confront the violence of queerphobia and what it means to have your humantity at the mercy of people’s morality and judgement.

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We Were Girls Once is the sequel to Tomorrow I Become a Woman, honing in on the lives of Ego, Zina, and Eriife, the daughters of Uju, Chinelo, and Adaugo from the first book. It explores their journey of they transition from being girls to women.

Ego, who moves to the United Kingdom to further her studies but despite experiencing relative success while working in a firm, she is constantly haunted by past: familial and institutional violence and its ripple effects. Ego is a woman robbed of the joy of becoming. 

Zina is also a prisoner of the past, stuck in a tense relationship with her mother. Despite this, she is a renowned actress who is famous and publicly admired. 

Eriife whom we encounter last in consumed by the realm of political life in Nigeria. There is a loss she mourns in her personal life, which she compensates for with the pursuit of influence, power and wealth.  Despite this bubble that these things afford her, Nigeria still deals with her as harshly as it does to those far less wealthy and privileged. 

This is a profound tale of the beauty of women’s friendship, as a conduit for growth, healing and justice. Zina helps Ego confront a serious injustice in the past and in doing so find closure. Despite their differences and disappointments, they come together for Eriife in her hour of need. 

Odafen explores the themes of family, politics, community, class dynamics and religion in this book. 

Odafen’s, We Were Girls Once is an ode to the timeless strength and beauty of female friendship. 

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The Comrade’s Wife follows a turbulent marriage between a rising politician and an academic, told through her life and lens.

The novel features a whirlwind romance between a charming rapscallion and a maiden fair who has been wronged in her past.  With deliciously crafted sentences, Boswell's prose is thought-provoking and emotionally impactful.  

Anita is not only a victim of workplace injustice and discrimination due to race and gender, but has her own unfortunate experience with gender-based violence, as well. There are those who would say that it sounds contrived that so much can go so wrong for one person but this is a reality that many women face.

We sat with Barbara Boswell to talk about this novel. 

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