Nigeria

Ships change not just their location but their identity throughout their lives. Medieval trading vessels became warships at royal command. The Queen Mary was a troop ship during the second world war. Ian Kumekawa, of Harvard University, has had the clever idea of following a modern ship through its metamorphoses and asking how these changes in use reflect the economic conditions of our time. But this ship is no Queen Mary. He calls it the Vessel, because it changes its name and owner so many times. Without its superstructure, no one would give it a second glance. It has neither an engine nor a rudder. It had to be mounted on a heavy-lift ship or towed to reach it destination.

It happened by accident. In 1829 the naturalist Nathaniel Bagshaw Ward was trying to hatch a moth pupa. He placed it in a sealed glass container, along with some soil and dried leaves, and set it aside. Sometime later he was surprised to find that a fern and some grass had taken root in the soil, despite having no water. As Sathnam Sanghera writes in Empireworld, the discovery ‘revolutionised the logistics of international plant transportation’. Suddenly there was a means of securely transporting seeds and seedlings across vast distances. Empireworld is a sequel to Sanghera’s wildly successful Empireland. Where the latter examined the legacies of empire in Britain, this book seeks to apply that template to the world.

Demographers are attached to their theories. The field’s most enduring is the ‘demographic transition’, whereby modernisation inexorably lowers a society’s once-high fertility to replacement rate. Unfortunately, reality is obstreperous and doesn’t always obey the rules. The United Nations Population Division bases population projections on the assumption that all countries will eventually follow the pattern of plummeting birth rates first observed across the West. Edward Paice’s Youthquake addresses the exception so far: Africa. The continent is hardly a minor asterisk.

One of the best episodes in Wole Soyinka’s third novel (his first since 1973) takes place not in Nigeria but in Salzburg. An engineer-turned-entrepreneur has died in hospital there after a bomb attack back home. His grasping clan descends from Lagos to parade their last respects — and stake their claims. The drive to the cemetery triggers a ‘torrent of eulogies to Austrian horticulture’. In a ‘concerted sibling gush’, plutocratic relatives swoon over the contrast between these clean, green vistas and the choking inferno of Lagos — an urban nightmare aggravated by their own mercenary scams. Soyinka’s characters often hide behind such ‘straw masks’ of pretentiousness, hypocrisy and fakery.

A book about the looted African art known as the Benin Bronzes begins by clarifying that most of them are not actually bronze, and none of them comes from the country of Benin. Yet as this gripping work of live history makes clear, such name ambiguity feels entirely appropriate for art so sophisticated in creation yet so controversial in acquisition. Little about the Benin Bronzes is black and white. The exact age is unknown for the cache of carved ivory, coral and metal plaques, heads, statuary, swords and other ceremonial objects, the best guess emphasising the circa in ‘circa 16th century’.

Death by water haunts the stories of Africans in Europe that flow through this fourth novel by Helon Habila. From the drowning of Milton’s swain Lycidas (a sort of tidal refrain for the book) to the capsized boat in the closing pages that offers victims in their hundreds to the ‘enraged leviathan’ of the sea, the imperious waves help wash these personal histories in an aura of myth. Whether privileged or penniless, the migrants whose journeys fill this episodic fresco of a work all crave the stories ‘traded as a currency among homeless, rootless people’. They hunger for narratives because ‘the water they all crossed to come here has dissolved the past’.