Shortlisted for the Commonwealth Writers' Prize and Costa Novel of the Year, this international bestseller has become a reading group classic.
We don't want to tell you too much about this book. It is a truly special story and we don't want to spoil it.
Nevertheless, you need to know something, so we will just say this:
It is extremely funny, but the African beach scene is horrific.
The story starts there, but the book doesn't.
And it's what happens afterwards that is most important.
Once you have read it, you'll want to tell everyone about it. When you do, please don't tell them what happens either. The magic is in how it unfolds.
"synopsis" may belong to another edition of this title.
They waved us through a razor-wire perimeter fence, and then another and another. We were asking each other, why the high security? What are we daubing in bright colours today - Britain's nuclear deterrent? Now thin brown people appeared through the grey mist, fingers clawing the wire, imploring us as we passed. The minibus stopped and we were pushed through a crush of anxious men, pleading and remonstrating in half the languages on earth.
The place was Campsfield House Immigration Removal Centre and it turned out we were there to serve canteen meals to dead men walking. True story. I spent the next three days slapping down scoops of mashed potato onto the plastic plates of Somalis, Sierra Leonians and others so traumatised that their nationalities could not be ascertained. The asylum seekers ate with plastic spoons. It would have been brave to provide men in their predicament with anything sharper.
I learned that there are nearly a dozen concentration camps in Britain today. The Home Office calls them `immigration removal centres' and I guess, since they pay for the razor wire and the plastic spoons, they get to call them what they like. The inmates are rounded up in dawn raids, having committed no evil other than to flee for their lives and seek asylum in the UK, which they are legally entitled to do. After detention in heartbreaking conditions, thousands each year are deported to countries where it is well known that many will be tortured and killed. Forgive me, but this thing we do to preserve Britain's character - it doesn't seem terribly British.
I wrote this novel because of two people I met in that place. The first, an Angolan, showed me a tiny photograph of his daughter. He said, She will starve if they deport me. Can you help? Both of us were crying. What could I do? I asked him if he wanted the carrots or the peas.
The second person, arriving at the head of the canteen queue, told me the following joke in his mellifluous Nigerian English: An asylum seeker goes to a nice hotel and he asks the barman, Sir, can you recommend me a fine port? And the barman says, Yes, Dover, now fuck off back home!
And somehow, in that terrible place, we were laughing.
I wrote those two characters - the tragic and the defiantly funny - into one brave Nigerian girl, Little Bee. She turns up on the doorstep of a slightly lost English woman one morning and simply asks, Can you help? I wanted to explore whether two such souls could save one other. I wanted to discover where, in our world and in the human heart, a person could truly find refuge. I hope you will enjoy the novel.
"About this title" may belong to another edition of this title.
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