Мабанку Ален (6)

Buttocks Man is down on his uppers. His girlfriend, Original Colour, has cleared out of their Paris studio and run off to the Congo with a vertically challenged drummer known as The Mongrel. She's taken their daughter with her. Meanwhile, a racist neighbour spies on him something wicked, accusing him of 'digging a hole in the Dole'. And his drinking buddies at Jips, the Afro-Cuban bar in Les Halles, pour scorn on Black Bazaar, the journal he keeps to log his sorrows. There are days when only the Arab in the corner shop has a kind word; while at night his dreams are stalked by the cannibal pygmies of Gabon. Then again, Buttocks Man wears no ordinary uppers. He has style, bags of it (suitcases of crocodile and anaconda Westons, to be precise). He's a dandy from the Bacongo district of Brazzaville — AKA a sapeur or member of the Society of Ambience-makers and People of Elegance. But is flaunting sartorial chic against tough times enough for Buttocks Man to cut it in the City of Light?

Written on the twentieth anniversary of James Baldwin’s death, Letter to Jimmy is African writer Alain Mabanckou’s ode to his literary hero and an effort to place Baldwin’s life in context within the greater African diaspora.

Beginning with a chance encounter with a beggar wandering along a Santa Monica beach — a man whose ragged clothes and unsteady gait remind the author of a character out of one of James Baldwin’s novels— Mabanckou uses his own experiences as an African living in the US as a launching pad to take readers on a fascinating tour of James Baldwin’s life. As Mabanckou reads Baldwin’s work, looks at pictures of him through the years, and explores Baldwin’s checkered publishing history, he is always probing for answers about what it must have been like for the young Baldwin to live abroad as an African-American, to write obliquely about his own homosexuality, and to seek out mentors like Richard Wright and Ralph Ellison only to publicly reject them later.

As Mabanckou travels to Paris, reads about French history and engages with contemporary readers, his letters to Baldwin grow more intimate and personal. He speaks to Baldwin as a peer — a writer who paved the way for his own work, and Mabanckou seems to believe, someone who might understand his experiences as an African expatriate.

Michel is ten years old, living in Pointe Noire, Congo, in the 1970s. His mother sells peanuts at the market, his father works at the Victory Palace Hotel, and brings home books left behind by the white guests. Planes cross the sky overhead, and Michel and his friend Loun's dream about the countries where they'll land. While news comes over the radio of the American hostage crisis in Tehran, the death of the Shah, the scandal of the Boukassa diamonds, Michel struggles with the demands of his twelve year old girlfriend Caroline, who threatens to leave him for a bully in the football team. But most worrying for Michel, the witch doctor has told his mother that he has hidden the key to her womb, and must return it before she can have another child. Somehow he must find it. Tomorrow I'll Be Twenty is a humorous and poignant account of an African childhood, drawn from Alain Mabanckou's life.

A moving meditation on home, home-coming and belonging from Francophone Africa's most important writer

Finalist for the Man Booker International Prize 2015

Alain Mabanckou left Congo in 1989, at the age of twenty-two, not to return until a quarter of a century later. When at last he returns home to Pointe-Noire, a bustling port town on Congo's south-eastern coast, he finds a country that in some ways has changed beyond recognition: the cinema where, as a child, Mabanckou gorged on glamorous American culture has become a Pentecostal temple, and his secondary school has been re-named in honour of a previously despised colonial ruler.But many things remain unchanged, not least the swirling mythology of Congolese culture which still informs everyday life in Pointe-Noire. Mabanckou though, now a decorated French-Congolese writer and esteemed professor at UCLA, finds he can only look on as an outsider at the place where he grew up. As Mabanckou delves into his childhood, into the life of his departed mother and into the strange mix of belonging and absence that informs his return to Congo, he slowly builds a stirring exploration of the way home never leaves us, however long ago we left home.

Alain Mabanckou’s riotous new novel centers on the patrons of a run-down bar in the Congo. In a country that appears to have forgotten the importance of remembering, a former schoolteacher and bar regular nicknamed Broken Glass has been elected to record their stories for posterity. But Broken Glass fails spectacularly at staying out of trouble as one denizen after another wants to rewrite history in an attempt at making sure his portrayal will properly reflect their exciting and dynamic lives. Despondent over this apparent triumph of self-delusion over self-awareness, Broken Glass drowns his sorrows in red wine and riffs on the great books of Africa and the West. Brimming with life, death, and literary allusions, is Mabanckou’s finest novel — a mocking satire of the dangers of artistic integrity.

All human beings, says an African legend, have an animal double. Some doubles are benign, others wicked. This legend comes to life in Alain Mabanckou’s outlandish, surreal, and charmingly nonchalant .

When Kibandi, a boy living in a Congolese village, reaches the age of 11, his father takes him out into the night and forces him to drink a vile liquid from a jar that has been hidden for years in the earth. This is his initiation. From now on, he and his double, a porcupine, become accomplices in murder. They attack neighbors, fellow villagers, and people who simply cross their path, for reasons so slight that it is virtually impossible to establish connection between the killings. As he grows older, Kibandi relies on his double to act out his grizzly compulsions, until one day even the porcupine balks and turns instead to literary confession.

Winner of the Prix Renaudot, France’s equal to the National Book Award, Alain Mabanckou is considered one of the most talented writers today. He was selected by the French journal as one of fifty writers to watch this coming century. And as Peter Carey suggests, he “positions himself at the margins, tapping the tradition founded by Celine, Genet, and other subversive writers.” In this superb and striking story, Mabanckou brings new power to magical realism, and is sure to excite American audiences nationwide.