Written with lyrical fire in a chorus of vividly rendered voices, Dionne Brand's second novel is an epic of the African diaspora across the globe. It begins in 1824 on Trinidad, where Marie-Ursule, queen of a secret slave society called the Sans Peur Regiment, plots a mass suicide. The end of the Sans Peur is also the beginning of a new world, for Marie-Ursule cannot kill her young daughter, Bola -- who escapes to live free and bear a dynasty of descendants who spill out across the Caribbean, North America, and Europe. Haunted by a legacy of passion and oppression, the children of Bola pass through two world wars and into the confusion, estrangement, and violence of the late twentieth century. "[Brand has] a lush and exuberant style that may put some readers in mind of Toni Morrison or Edwidge Danticat." -- William Ferguson, The New York Times Book Review; "A delicately structured, beautifully written novel infused with rare emotional clarity." -- Julie Wheelwright, The Independent (London); "Rich, elegiac, almost biblical in its rhythms . . . One of the essential works of our times." -- The Globe & Mail (Toronto)

From early in her life, Kamla is surprised by a contrary inner voice which frequently gainsays the wisdom of her elders and betters. But Kamla is growing up in a traditional Hindu community and attending schools in colonial Trinidad where rote learning is still the order of the day. She learns that this voice creates nothing but trouble and silences it. In this book, the voice is freed.

This story takes place on an island with the familiar characters, issues and sights of Caribbean life. At the centre of this world are the Weavers, a mixed-race, middle-class family, and the Mayers family, whose ancestors, the Pindars, tried to uphold tradition, only to discover that love transcends even tradition. Eve, the Weavers' house help who is from a nearby village, is a calm witness to the dramas which are unfolding between these two families drawn together by a series of strange circumstances. With the help of Alexander and Ranee, pioneers of their religious faith, everyone pulls through the difficulties they face as a result, and manages to resolve many issues, maintain family ties, preserve friendships, forge new friendships and grow spiritually into stronger, better human beings. They remind us of some of the mistakes that we have made in our lives as a result of making uninformed or wrong choices. We cannot help but read between the lines that to err is human, and to forgive, divine. 'Lizards Under the Roof' is a novel stating and proving that people from different cultures, races, religions, nationalities and social standing can live together in harmony, once the spiritual impulse brings the understanding that we have more in common than what divides us. The greatest gift of God, our soul, bestowed at conception, is what all of us share and this makes us equal. The innumerable prejudices dividing us are all man-made. God desires only that we live in unity and peace, showing forth love to all of His creation. This story involves individuals and families living and interacting on an island in the Caribbean, bringing out the changes in the way of life under the impact of history, roughly spanning a period from just before World War One to the early Nineties.

It's Carnival time and the Caribbean-colonized planet of Toussaint is celebrating with music, dance, and pageantry. Masked "Midnight Robbers" waylay revelers with brandished weapons and spellbinding words. To young Tan-Tan, the Robber Queen is simply a favorite costume to wear at the festival-until her power-corrupted father commits an unforgiveable crime.

Suddenly, both father and daughter are thrust into the brutal world of New Half-Way Tree. Here monstrous creatures from folklore are real, and the humans are violent outcasts in the wilds. Tan-Tan must reach into the heart of myth and become the Robber Queen herself. For only the Robber Queen's legendary powers can save her life . . . and set her free.

Nothing's Mat is told by a black British teenager - "every black girl" - for she has no name until the very last chapters when she is teasingly called "Princess" by her husband. Somewhere in the 1950s London-based Princess is allowed to complete her sixth-form final exams by writing a long paper on the West Indian family instead of sitting an exam. She thinks this a godsend and that all she has to do is to interview her parents. Her father tries to help her with his side but they both find that their kin will not fit into the standard anthropological template. Her father thinks it a good time for her to go to Jamaica and meet her grandparents, who can better help her with her study.

In Jamaica, much as her middle-class black Jamaican grandparents and her parents in England might not have liked it, Princess meets and spends time with her obscure cousin Nothing, called Conut. Conut introduces Princess to a plant that obeys certain divine principles and is available to humans to make artefacts for their comfort. Accordingly, they begin to make a mat and as they twist straw and bend it into intricate shapes, Conut tells her the family history so that their creation becomes for her a mat of anthropological template. The resulting shape presented to her teacher earns her an A and the comment that she has managed to project the West Indian family as a fractal rather than fractured as the published literature sees it.

Her studies and subsequent academic career take her to London University and then back to Jamaica, but under-stimulated by the academy, she chooses to continue the family study from high school and to do so by crafting the information into the mat, which becomes for her a shield against spiritual and physical evil. Making the mat of ancestors takes her into myriad histories of young Englishmen in Jamaica, of Jamaican women in Panama, and of African Americans in Virginia, among others.

This work is at once a fictional family history and a comment on anthropological methodology and African systems of thought.

Carnival takes on social and political importance in this recognized classic. The people of the shantytown Calvary Hill, usually invisible to the rest of society, join the throng and flaunt their neighborhood personas in masquerade during Carnival. Aldrick, the dashing "king of the Hill," becomes a glorious, dancing dragon; his lovely Sylvia, a princess; Fisheye, rebel idealist, a fierce steel band contestant; and Philo, Calypso songwriter, a star. Then a business sponsors Fisheye's band, Philo gets a hit song, and Sylvia leaves the Hill with a prosperous older man. For Aldrick, it will take one more masquerade this time, involving guns and hostages before the illusion of power becomes reality."

Here is Sandra Cisnero's greatly admired and best-selling novel of a young girl growing up in the Latino section of Chicago. Acclaimed by critics, beloved by children and their parents and grandparents, taught everywhere from inner-city grade schools to universities across the country, and translated all over the world, "The House on Mango Street" has entered the canon of coming-of-age classics even as it depicts a new American landscape. Sometimes heartbreaking, sometimes deeply joyous, "The House on Mango Street" tells the story of Esperanza Cordero, whose neighborhood is one of harsh realities and harsh beauty. Esperanza doesn't want to belong - not to her run-down neighborhood, and not to the low expectations the world has for her. Esperanza's story is that of a young girl coming into her power, and inventing for herself what she will become. "The San Francisco Chronicle" has called "The House on Mango Street" "marvelous... spare yet luminous. The subtle power of Cisnero's storytelling is evident. She communicates all the rapture and rage of growing up in a modern world." It is an extraordinary achievement that will live on for years to come.