Stay with me

Review by New York Times Review

NO APPARENT DISTRESS: A Doctor's Comingof-Age on the Front Lines of American Medicine, by Rachel Pearson. (Norton, $16.95.) On the heels of Hurricane Ike, in 2008, Pearson headed to Galveston, Tex., for medical school, where she witnessed firsthand how health care consistently fails lower-income patients. A huge segment of society has been cast aside by medical providers, she writes, and not by accident. THE DESTROYERS, by Christopher Bollen. (Harper Perennial, $16.99.) In this crisp, taut thriller centered on a Greek island, the heir to a construction fortune goes missing. Bollen pairs all the pleasures of a literary thriller (dazzling coves, a string of murders, champagne on yachts) with uneasy moral questions. Our reviewer, Thad Ziólkowski, praised the novel's "seductive mood of longing mixed with regret." THE ENDS OF THE WORLD: Volcanic Apocalypses, Lethal Oceans, and Our Quest to Understand Earth's Past Mass Extinctions, by Peter Brannen. (Ecco/HarperCollins, $16.) The earth has undergone five mass extinctions in the history of the planet, and Brannen, a science journalist, explains them all in gruesome detail. A glimmer of bright news? The extinction rate we've seen in the past 400 years doesn't come close to rivaling the Big Five - at least not yet. THE DARK NET, by Benjamin Percy. (Mariner, $14.99.) A gang of misfits in Portland, Ore. - a disgruntled journalist, his blind niece, a former child evangelist, a homeless man and others - must band together against satanic online groups from the darkest corners of the internet. Percy's thrilling story delivers on the setup's promise for action and horror: As our reviewer, Terrence Rafferty, put it, "It's one of the best Stephen King novels not written by the master himself." THE BOY WHO LOVED TOO MUCH: A True Story of Pathological Friendliness, by Jennifer Latson. (Simon & Schuster, $16.) Roughly one in 10,000 people have Williams syndrome, a genetic condition that wipes out the skepticism and social caution that seem hard-wired into most other humans. Latson follows one, 12year-old Eli, and his mother's attempts to shield him from the disease's most wrenching side effects. STAY WITH ME, by Ayobami Adebayo. (Vintage, $16.) It's 1980s Nigeria, and the childless marriage between Yejide and her husband, Akin, is unraveling, as his secrets and betrayals come to light. This heartbreaking debut novel considers questions of fidelity and commitment; the tensions between tradition and modernity; and the break between society's expectations and a woman's own.

Copyright (c) The New York Times Company [July 15, 2018]

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Review by Booklist Review

*Starred Review* When Yejide and Akin fall in love, they decide not to have a polygamous relationship. This surprises their Nigerian families, especially when, four years into their marriage, Yejide still hasn't become pregnant. Although everyone recognizes how hard Yejide is trying to conceive, the family secretly brings in a second wife. Yejide is furious, and desperate to save her marriage. Adebayo's debut novel expands beyond the second wife's arrival to explore the darkest moments of life and marriage. The story alternates between the late 1980s and a funeral in 2008, setting Akin and Yejide's marriage against a period of political instability in Nigeria. Telling the story from both Akin's and Yejide's perspectives, Adebayo describes parenthood and love with heartbreaking prose. She deftly reveals secrets and the decisions that set life-altering events in motion. The story's fast pace brings surprising twists to Akin, Yejide, and their families' lives while delving into their history, as a couple and as individuals. Readers of Stay with Me will eagerly await Adebayo's next book.--Chanoux, Laura Copyright 2017 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.

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Review by Publisher's Weekly Review

Adebayo explores the toll the intense pressure to have children exacts on one Nigerian couple across two decades. Akin's large family disrupts his and Yejide's happy but childless marriage by forcing him into a polygamous marriage without his wife's knowledge. This betrayal and a last-ditch visit to a holy man convince Yejide that she is pregnant and she begins a year-long psychosomatic pregnancy. Just when she finally accepts that there will be no child, Akin's brother Dotun seduces and impregnates her. The child is eagerly welcomed as Akin's own, especially by his imposing mother. The happiness ends abruptly with the seemingly accidental death of Akin's second wife. As subsequent traumas multiply between the couple, Adebayo slowly reveals their unspoken shame by having both narrate chapters covering the same events. Yejide's strong ache to be a mother and her frustration with traditional Yoruba culture make her a complex character. Adebayo shows great promise in her debut novel. Her methodical exposure of her characters' secrets forces the reader into continual reevaluations and culminates in a tender, satisfying conclusion. (Aug.) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

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Review by Library Journal Review

Against a tumultuous backdrop of political, military, and economic turmoil in modern Nigeria comes a portrait of a marriage that begins with idealistic devotion and ardent promise. For Yejide and Akin, love should have been enough, but after four years without children, "even love bends, cracks, comes close to breaking and sometimes does break." Unable to fend off his mother's demands for a grandchild, Akin warily agrees to take a second wife. When modern medicine can't help her conceive, desperate -Yejide climbs the "Mountain of Jaw-Dropping Miracles" and comes back down convinced (falsely) she's pregnant. The need to procreate both unites and destroys the couple, each plagued with secrets and betrayals that eventually lead to parenthood but not without devastating regrets and searing tragedy. Adjoa Andoh's rich narration, softly infused with her native British accent, effortlessly adapts to a more pronounced -Nigerian inflection as needed. Andoh becomes both husband and wife, modulating her mellifluous voice between Akin's hope and defeat and Yejide's hurt and resolve. With elegant control, Andoh elevates Adebayo's already extraordinary debut into a spectacular aural performance. -VERDICT Libraries owe patrons ready access to this sort of meaningful, transformative fare. ["A blazing entry onto the list of young, talented writers from Nigeria": LJ 6/15/17 starred review of the Knopf hc.]-Terry Hong, -Smithsonian -BookDragon, -Washington, DC © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Review by Kirkus Book Review

A couple struggles with fertilityand fidelityas Nigeria falls apart around them.Yejide is furious when her husband, Akin, brings Funmi, a second wife, home to their house in Ilesa. Pressured by his mother, and by the constraints of Nigerian masculinity, to conceive a son, Akin seeks a solution to their marriage's childlessnesseven if it means hurting Yejide in the process. In alternating chapters, Yejide and Akin tell a desperate story of hope and deceit, grief and forgiveness. "I simply had to get pregnant, as soon as possible, and before Funmi did," explains Yejide. "It was the only way I could be sure I would stay in Akin's life." Yejide's path to motherhood is marked by operatic tragedy, with the requisite affair and multiple deaths. Although Adebayo wields misfortune to shed light on the pressures of marriage, melodrama, at times, crowds out sympathy for the human-sized grief of her characters. Still, in the moments when Yejide confronts the fear and uncertainty of raising children with sickle cell anemia, Adebayo's writing shines. Set against a backdrop of student protests, a presidential assassination, and a military coup, Adebayo's novel captures how the turmoil of Nigerian life in the 1980s and '90s seeps into the most personal of decisionsto fight for, and protect, one's family. Adebayo's debut marks the emergence of a fine young writer. Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

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PART ONE 1 JOS, DECEMBER 2008 I must leave this city today and come to you. My bags are packed and the empty rooms remind me that I should have left a week ago. Musa, my driver, has slept at the security guard's post every night since last Friday, waiting for me to wake him up at dawn so we can set out on time. But my bags still sit in the living room, gathering dust. I have given most of what I acquired here--­furniture, electronic devices, even house fittings--­to the stylists who worked in my salon. So, every night for a week now, I've tossed about on this bed without a television to shorten my insomniac hours. There's a house waiting for me in Ife, right outside the university where you and I first met. I imagine it now, a house not unlike this one, its many rooms designed to nurture a big family: man, wife and many children. I was supposed to leave a day after my hair dryers were taken down. The plan was to spend a week setting up my new salon and furnishing the house. I wanted my new life in place before seeing you again. It's not that I've become attached to this place. I will not miss the few friends I made, the people who do not know the woman I was before I came here, the men who over the years have thought they were in love with me. Once I leave, I probably won't even remember the one who asked me to be his wife. Nobody here knows I'm still married to you. I only tell them a slice of the story: I was barren and my husband took another wife. No one has ever probed further, so I've never told them about my children. I have wanted to leave since the three corpers in the National Youth Service programme were killed. I decided to shut down my salon and the jewellery shop before I even knew what I would do next, before the invitation to your father's funeral arrived like a map to show me the way. I have memorised the three young men's names and I know what each one studied at the university. My Olamide would have been about their age; she too would just have been leaving university about now. When I read about them, I think of her. Akin, I often wonder if you think about her too. Although sleep stays away, every night I shut my eyes and pieces of the life I left behind come back to me. I see the batik pillowcases in our bedroom, our neighbours and your family which, for a misguided period, I thought was also mine. I see you. Tonight I see the bedside lamp you gave me a few weeks after we got married. I could not sleep in the dark and you had nightmares if we left the fluorescent lights on. That lamp was your solution. You bought it without telling me you'd come up with a compromise, without asking me if I wanted a lamp. And as I stroked its bronze base and admired the tinted glass panels that formed its shade, you asked me what I would take out of the building if our house was burning. I didn't think about it before saying, Our baby, even though we did not have children yet. Something, you said, not someone. But you seemed a little hurt that, when I thought it was someone, I did not consider rescuing you. I drag myself out of bed and change out of my nightgown. I will not waste another minute. The questions you must answer, the ones I've choked on for over a decade, quicken my steps as I grab my handbag and go into the living room. There are seventeen bags here, ready to be carried into my car. I stare at the bags, recalling the contents of each one. If this house was on fire, what would I take? I have to think about this because the first thing that occurs to me is nothing. I choose the overnight bag I'd planned to bring with me for the funeral and a leather pouch filled with gold jewellery. Musa can bring the rest of the bags to me another time. This is it then--­fifteen years here and, though my house is not on fire, all I'm taking is a bag of gold and a change of clothes. The things that matter are inside me, locked up below my breast as though in a grave, a place of permanence, my coffin-like treasure chest. I step outside. The air is freezing and the black sky is turning purple in the horizon as the sun ascends. Musa is leaning against the car, cleaning his teeth with a stick. He spits into a cup as I approach and puts the chewing stick in his breast pocket. He opens the car door, we exchange greetings and I climb into the back seat. Musa switches on the car radio and searches for stations. He settles for one that is starting the day's broadcast with a recording of the national anthem. The security guard waves goodbye as we drive out of the compound. The road stretches before us, shrouded in a darkness transitioning into dawn as it leads me back to you. Excerpted from Stay with Me by Ayobami Adebayo All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

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