The charming real-life fairy tale of an American secretary who discovers she has been chosen king of an impoverished fishing village on the west coast of Africa. King Peggy has the sweetness and quirkiness of The No. 1 Ladies' Detective Agency series and the hopeful sense of possibility of Half the Sky.  King Peggy chronicles the astonishing journey of an American secretary who suddenly finds herself king to a town of 7,000 souls on Ghana's central coast, half a world away. Upon arriving for her crowning ceremony in beautiful Otuam, she discovers the dire reality: there's no running water, no doctor, and no high school, and many of the village elders are stealing the town's funds. To make matters worse, her uncle (the late king) sits in a morgue awaiting a proper funeral in the royal palace, which is in ruins. The longer she waits to bury him, the more she risks incurring the wrath of her ancestors. Peggy's first two years as king of Otuam unfold in a way that is stranger than fiction. In the end, a deeply traditional African town has been uplifted by the ambitions of its headstrong, decidedly modern female king. And in changing Otuam, Peggy is herself transformed, from an ordinary secretary to the heart and hope of her community.

The urban youth frequenting the Internet cafés of Accra, Ghana, who are decidedly not members of their country's elite, use the Internet largely as a way to orchestrate encounters across distance and amass foreign ties--activities once limited to the wealthy, university-educated classes. The Internet, accessed on second-hand computers (castoffs from the United States and Europe), has become for these youths a means of enacting a more cosmopolitan self. In Invisible Users, Jenna Burrell offers a richly observed account of how these Internet enthusiasts have adopted, and adapted to their own priorities, a technological system that was not designed with them in mind. Burrell describes the material space of the urban Internet café and the virtual space of push and pull between young Ghanaians and the foreigners they encounter online; the region's famous 419 scam strategies and the rumors of "big gains" that fuel them; the influential role of churches and theories about how the supernatural operates through the network; and development rhetoric about digital technologies and the future viability of African Internet cafés in the region. Burrell, integrating concepts from science and technology studies and African studies with empirical findings from her own field work in Ghana, captures the interpretive flexibility of technology by users in the margins but also highlights how their invisibility puts limits on their full inclusion into a global network society.

Abina and the Important Men is a compelling and powerfully illustrated "graphic history" based on an 1876 court transcript of a West African woman named Abina, who was wrongfully enslaved and took her case to court. The book is a microhistory that does much more than simply depict an event in the past; it uses the power of illustration to convey important themes in world history and to reveal the processes by which history is made.The story of Abina Mansah--a woman "without history" who was wrongfully enslaved, escaped to British-controlled territory, and then took her former master to court--takes place in the complex world of the Gold Coast at the onset of late nineteenth-century colonialism. Slavery becomes a contested ground, as cultural practices collide with an emerging wage economy and British officials turn a blind eye to the presence of underpaid domestic workers in the households of African merchants. The main scenes of the story take place in the courtroom, where Abina strives to convince a series of "important men"--a British judge, two Euro-African attorneys, a wealthy African country "gentleman," and a jury of local leaders--that her rights matter. "Am I free?" Abina inquires. Throughout both the court case and the flashbacks that dramatically depict her life in servitude, these men strive to "silence" Abina and to impose their own understandings and meanings upon her. The story seems to conclude with the short-term success of the "important men," as Abina loses her case. But it doesn't end there: Abina is eventually redeemed. Her testimony is uncovered in the dusty archives by Trevor Getz and, through Liz Clarke's illustrations, becomes a graphic history read by people around the world. In this way, the reader takes an active part in the story along with the illustrator, the author, and Abina herself.Following the graphic history in Part I, Parts II-V provide detailed historical context for the story, a reading guide that reconstructs and deconstructs the methods used to interpret the story, and strategies for using Abina in various classroom settings. Click the following links to see sample pages from the book:Sample page 1 Sample page 2

In Lose Your Mother, Saidiya Hartman traces the history of the Atlantic slave trade by recounting a journey she took along a slave route in Ghana. Following the trail of captives from the hinterland to the Atlantic coast, she reckons with the blank slate of her own genealogy and vividly dramatizes the effects of slavery on three centuries of African and African American history.The slave, Hartman observes, is a stranger--torn from family, home, and country. To lose your mother is to be severed from your kin, to forget your past, and to inhabit the world as an outsider. There are no known survivors of Hartman's lineage, no relatives in Ghana whom she came hoping to find. She is a stranger in search of strangers, and this fact leads her into intimate engagements with the people she encounters along the way and with figures from the past whose lives were shattered and transformed by the slave trade. Written in prose that is fresh, insightful, and deeply affecting, Lose Your Mother is a "landmark text" (Robin D. G. Kelley, author of Freedom Dreams).

In this sustained and nuanced attempt to define a genuinely African philosophy, Kwame Gyekye rejects the idea that an African philosophy consists simply of the work of Africans writing on philosophy. It must, Gyekye argues, arise from African thought itself, relate to the culture out of which it grows, and provide the possibility of a continuation of a philosophy linked to culture. Offering a philosophical clarification and interpretation of the concepts in the ontology, philosophical psychology, theology, and ethics of the Akan of Ghana, Gyekye argues that critical analyses of specific traditional African modes of thought are necessary to develop a distinctively African philosophy as well as cultural values in the modern world. Kwame Gyekye, Professor of Philosophy at the University of Ghana, is currently a Visiting Professor of Philosophy and African American studies at Temple University. He is the author of numerous articles and books, including "The Unexamined Life: Philosophy and the African Experience".

In 1817, the first British envoy to meet the king of the Asante of West Africa was dazzled by his reception. A group of 5,000 Asante soldiers, many wearing immense caps topped with three foot eagle feathers and gold ram's horns, engulfed him with a "zeal bordering on phrensy, " shooting muskets into the air. The envoy was escorted, as no fewer than 100 bands played, to the Asante king's palace and greeted by a tremendous throng of 30,000 noblemen and soldiers, bedecked with so much gold that his party had to avert their eyes to avoid the blinding glare. Some Asante elders wore gold ornaments so massive they had to be supported by attendants. But a criminal being lead to his execution - hands tied, ears severed, knives thrust through his cheeks and shoulder blades - was also paraded before them as a warning of what would befall malefactors. This first encounter set the stage for one of the longest and fiercest wars in all the European conquest of Africa. At its height, the Asante empire, on the Gold Coast of Africa in present-day Ghana, comprised three million people and had its own highly sophisticated social, political, and military institutions. Armed with European firearms, the tenacious and disciplined Asante army inflicted heavy casualties on advancing British troops, in some cases defeating them. They won the respect and admiration of British commanders, and displayed a unique willingness to adapt their traditional military tactics to counter superior British technology. Even well after a British fort had been established in Kumase, the Asante capital, the indigenous culture stubbornly resisted Europeanization, as long as the "golden stool, " the sacred repository of royal power,remained in Asante hands. It was only after an entire century of fighting that resistance ultimately ceased.

In this remarkable book, Steven Feld, pioneer of the anthropology of sound, listens to the vernacular cosmopolitanism of jazz players in Ghana. Some have traveled widely, played with American jazz greats, and blended the innovations of John Coltrane with local instruments and worldviews. Combining memoir, biography, ethnography, and history, Feld conveys a diasporic intimacy and dialogue that contests American nationalist and Afrocentric narratives of jazz history. His stories of Accra's jazz cosmopolitanism feature Ghanaba/Guy Warren (1923–2008), the eccentric drummer who befriended the likes of Charlie Parker, Max Roach, and Thelonious Monk in the United States in the 1950s, only to return, embittered, to Ghana, where he became the country's leading experimentalist. Others whose stories figure prominently are Nii Noi Nortey, who fuses the legacies of the black avant-gardes of the 1960s and 1970s with pan-African philosophy in sculptural shrines to Coltrane and musical improvisations inspired by his work; the percussionist Nii Otoo Annan, a traditional master inspired by Coltrane's drummers Elvin Jones and Rashied Ali; and a union of Accra truck and minibus drivers whose squeeze-bulb honk-horn music for drivers' funerals recalls the jazz funerals of New Orleans. Feld describes these artists' cosmopolitan outlook as an "acoustemology," a way of knowing the world through sound.

In this fascinating inquiry into the African Diaspora, Caryl Phillips embarks on a soul-wrenching journey to the three major ports of the transatlantic slave trade. Juxtaposing stories of the past with his own present-day experiences, Phillips combines his remarkable skills as a travel essayist with an astute understanding of history.

"CHASING THE ELEPHANT INTO THE BUSH" is an insider's account of how the governing New Patriotic Party lost power in the closest elections in Africa's history.The writer believes that providing an accurate account will begin the process of correcting the rumours, lies and myths that are out there about the 2008 elections in Ghana.Throughout, the book is liberally sprinkled with quotes and historical references that makes it very informative and interesting.He begins with the state of the nation and the governing party as Ghana approached 2008.He then takes the reader through the NPP primary and his own experiences as a losing candidate.There is candid discussion of the rivalries in the campaign that undermined its effectiveness. He takes the reader inside meetings and quotes some of the key players at key moments in the campaign. There is candid discussion of the roles of the media, the security forces and civil society.The identification of issues and their use in the campaign is discussed thoroughly.While his sympathies are never in doubt, he is very objective and acknowledges the mistakes made by the campaign, the government and the party. He credits the NDC Campaign for doing certain things well.Amongst these are the deployment of President Mills and former President Rawlings as well as Vice-President John Mahama.He reveals the roles of key people, including the President, the Presidential candidate and powerful groups, like the "Kyebi Mafia". He offers candid assessments of all the key players.He suggests reasons for the NPP defeat and the way to recapture power.This will be a very significant first cut and reference point for an account of the 2008 Presidential and Parliamentary Elections in Ghana.

In Ghana, adinkra and kente textiles derive their significance from their association with both Asante and Ghanaian cultural nationalism. Adinkra, made by stenciling patterns with black dye, and kente, a type of strip weaving, each convey, through color, style, and adornment, the bearer’s identity, social status, and even emotional state. Yet both textiles have been widely mass-produced outside Ghana, particularly in East Asia, without any compensation to the originators of the designs. In The Copyright Thing Doesn’t Work Here, Boatema Boateng focuses on the appropriation and protection of adinkra and kente cloth in order to examine the broader implications of the use of intellectual property law to preserve folklore and other traditional forms of knowledge. Boateng investigates the compatibility of indigenous practices of authorship and ownership with those established under intellectual property law, considering the ways in which both are responses to the changing social and historical conditions of decolonization and globalization. Comparing textiles to the more secure copyright protection that Ghanaian musicians enjoy under Ghanaian copyright law, she demonstrates that different forms of social, cultural, and legal capital are treated differently under intellectual property law. Boateng then moves beyond Africa, expanding her analysis to the influence of cultural nationalism among the diaspora, particularly in the United States, on the appropriation of Ghanaian and other African cultures for global markets. Boateng’s rich ethnography brings to the surface difficult challenges to the international regulation of both contemporary and traditional concepts of intellectual property, and questions whether it can even be done.