«“Billy Kahora is a painter with words. He makes the reader see and touch and smell and feel characters and their inner turmoil as they try to survive, against the challenges of nature and nurture.”»

Ngũgĩ wa Thiong’o

«“Insightful stories that reflect on the ramifications of falling from the Kenyan middle class. The loss of its certainties and pretensions leaves Billy Kahora’s young men and women adrift. Their fathers who once commanded and never explained, either desert home or become powerless shadows. Mothers become mentally ill or take comfort in religion or drink but they hang on to maintain the semblance of home. These stories capture the hopes and failures of a particular place and time with skill, insight and an unapologetic, urban Kenyanness of expression.”»

Muthoni Garland, author of Tracking the Scent of My Mother

«“An engaging read that captivates with its honest humour and ingenuity of narration. The author’s use of language effortlessly blends English and Kiswahili in such a way that he never loses his reader. In this, Kahora matches Junot Diaz’s brilliance in The Brief Wondrous Life of Oscar Wao, in which you can ably comprehend Spanish in an Anglophone narrative. The realism and the humorous rendition of ordinary lives in the stories recall the genius of Zakes Mda in Ways of Dying, Fred Khumalo’s Talk of the Town, and Ayi Kwei Armah’s The Beautyful Ones Are Not Yet Born, making this is a landmark text that breathes life into the canon of African literature.”»

Wesley Macheso, Africa in Words

«“Billy Kahora’s stories immerse us in a surreal, heady, wry, often beautiful, sometimes brutal, always surprising world. This is a millennial Kenya we’ve never seen in fiction before: drunks and zealots, farmers and whistleblowers, locals and migrants, mothers and brothers, the rich and the poor and those who slip in between. This prismatic picture of Kenyans—especially their class politics—feels startlingly precise: yes, this is exactly how people talk and hustle and love and falter. A wondrous collection.”»

Namwali Serpell, author of The Old Drift

«“Kahora’s stories follow the Kenyan middle-class man as his mental health fails, as he leaves the country to pursue the academic ambitions that a collapsing public education system can no longer accommodate, and as he navigates desire and sex in a neoliberal state where everything can be a commodity, including marriage…. Kahora, unlike Ngugi, does not see tradition or a return to the ethnic as a way to salvation. He sees unqualified or uninterrogated allegiance to tradition, even the traditions that we build for ourselves in the city, as a sort of prison that the protagonist must be wary of.”»

Guernica