• Red Mist (Kay Scarpetta #19) – Hardcover

    ‘America’s most chilling writer of crime fiction’ The Times

    Kay Scarpetta has arranged to meet an inmate at the high-security Georgia Prison for Women. The prisoner is a convicted sex offender and the mother of a vicious and diabolically brilliant killer.

    Against advice, Scarpetta is determined to hear this woman out – she believes she may hold some answers to the murder of her former deputy. But soon she finds connections to a string of grisly killings, including the slaughter of a Savannah family years earlier. She can see a pattern to these killings, but who is behind them and why?

    As she learns more, Scarpetta is compelled to conclude that this is only the beginning of something far more destructive: a terrifying terrain of conspiracy and potential terrorism on an international scale. And she is the only one who can stop it…

  • Predator (Kay Scarpetta #14) -Hardback

    Florida is full of human predators, and they all give Dr Kay Scarpetta the opportunity and the means to do what she does best – persuading the dead to speak to her. And in Boston, Benton Wesley is working on a secret case involving convicted killers. It is a project which gives Scarpetta deep disquiet, as does the behaviour of her niece, Lucy, who is spending too much time in cheap bars looking for casual pick-ups. The Academy is called when a woman’s body is found in Boston. She has been tortured, sexually abused, her body tattooed with handprints. The same sort of handprints Lucy had seen on the flesh of her latest pick-up. Meanwhile, Scarpetta and Marino are investigating the disappearance of a family in Florida, called in by a concerned neighbour, but as they search and find the tell-tale signs of abduction rather than disappearance, they also discover that someone had assumed the identity of the caller, and she is now dead. They’ve been set up, and it becomes clear that someone is tracking their every move.

  • My Path to Happiness

    The key idea of this book is improving wellbeing, developing the mind to see positivity and having happiness regardless of any situation. It covers aspects of life that people go through (depression, financial instability, self doubt, relationship problems etc.) Coming from ignorance as well as from lack of self-belief, which could be as a result of various circumstances like exposure and upbringing.

  • Sweet Crude Odyssey

    In the international market, they call it sweet crude – low-sulphur crude oil. It is targeted by oil thieves in the Niger Delta, who siphon it from the pipelines and sell to the highest bidder. This brutal black market is a web connecting rich barons in gleaming cities to savage militants in the creeks. This is the world Bruce Telema is lured into. But even as he outruns poverty and gains a fearsome reputation in the oil cabal, death, karma and the law stay close on his heels.

  • Truth is a Flightless Bird

    Obama comes to Kenya!

    The American president’s historic visit to Nairobi is the electric backdrop to the story of a pastor, who plunges into the slums to rescue the woman he loves from the clutches of a Somali drug lord.

    But how deep can the pastor go, without destroying his faith, and himself?

    Truth is a Flightless Bird is a brutal love letter to the frontier town that is present-day Nairobi: a studied observation of the the failure of bare-knuckled capitalism, the inequality machines our cities have become, and – ultimately – the profoundly irrational human capacity to hope, to risk everything in order to have something in which to believe.

    With Truth is a Flightless Bird, Hussain establishes a remarkable voice, one truly his own.

  • Executive Hallucination

    The Ultimate Crime: Ghana’s hard-won reputation as the bedrock of democracy in a sub-region gone mad is threatened by a hallucinatory Chief of Staff who holds the ultimate hostage – the President of the Republic of Ghana. The entire security apparatus is helpless – unless they found someone with the requisite experience to infiltrate the heavily guarded Castle, thwart the dreaded 4th Battalion of Infantry, and break a sick President out.

    The Ultimate Madness: West Africa had gone mad again. Coups and counter-coups prevailed from North to South. Civil wars ran like wild fire from East to West. Everywhere was a bloody abattoir. In Liberia, the foolishness was perhaps, even more so. In the thick of that madness, a young medical student, seemingly not smart enough to comprehend the extent of the danger, arrive from Ghana. His one motive is the rescue of his twin – and anyone else smart enough to come along. Moving against time itself, bloodthirsty cannibals and the invasion of Libyan-trained rebels, he finds his family but there is no sister.

    The Ultimate Score: Dr. Alexander J. Cattrall wants no part in the fracas between Ghana’s National Security Agency and a Chief of Staff who has suddenly declared himself President. But he takes extraordinary exception to the abduction of his twin sister. It is now time to settle a 23-year old score and help the country fulfil its vow to resist oppressors’ rule.

  • Highlife Time 3

    Highlife is Ghana’s most important modern home grown dance-music that has its roots in traditional music infused with outside influences coming from Europe and the Americas. Although the word ‘highlife’ was not coined until the 1920s, its origins can be traced back to the regimental brass bands, elite-dance orchestras and maritime guitar and accordion groups of the late 19th and very early 20th centuries. Highlife is, therefore, one of Africa’s earliest popular music genres.

    The book traces the origins of highlife music to the present – and include information on palmwine music, adaha brass bands, concert party guitar bands and dance bands, right up to off-shoots such as Afro-rock, Afrobeat, burger highlife, gospel highlife, hiphop highlife (i.e. hiplife) and contemporary highlife.
    The book also includes chapters on the traditional background or roots of highlife, the entrance of women into the Ghanaian highlife profession and the biographies of numerous Ghanaian (and some Nigerian) highlife musicians, composers and producers. It also touches on the way highlife played a role in Ghana’s independence struggle and the country’s quest for a national – and indeed Pan-African – identity.

    The book also provides information on music styles that are related to highlife, or can be treated as cousins of highlife, such as the maringa of Sierra Leone, the early guitar styles of Liberia, the juju music of Nigeria the makossa of the Cameroon/ It also touches on the popular music of Ghana’s Francophone neighbours.

    There is also a section on the Black Diasporic input into highlife, through to the impact of African American and Caribbean popular music styles like calypsos, jazz, soul, reggae, disco, hiphop and rap and dancehall. that have been integrated into the highlife fold. Thus, highlife has not only influenced other African countries but is also an important cultural bridge uniting the peoples of Africa and its Diaspora.

    Highlife Time 3

    250.00
  • From Britain to Bokoor: The Ghanaian Musical Journey of John Collins

    Highlife, a popular West African genre, is easily the soundtrack to the life journey of the nation Ghana. And if there is one personality who has contributed the most to documenting it, it is Professor John Collins, a naturalized Ghanaian of British descent and a professor of music at the University of Ghana, Legon. Collins originally accompanied his parents to Ghana in 1952, when his father was setting up the philosophy department at the University of Ghana. Returning to Britain with his mother, Collins was educated in Bristol, Manchester and London, earning a science degree. He was also playing music and then he returned to Ghana in 1969 to study archaeology and sociology at the University of Ghana.

    Eventually he himself became an academic teaching and researching popular music. This book captures the life and music career of Collins. What makes him an enigma is his personal involvement on the road as a guitar playing member of concert party bands. His working relations with Fela, E.T. Mensah, Kofi Ghanaba, Victor Uwaifo, Prof. J. H. Kwabena Nketia and many legendary names in the music space of West Africa make him a legend in his own right. This is the story of a “white man” man who came to Africa to legitimize the place of highlife as consequential to world music

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