Sudanese writer and Caine Prize recipient Leila Aboulela writes prose that captures and then lingers on experiences of migration. Homesickness pervades her writing, inviting us to consider what constitutes a home and what one will do to return there, even if only through scent and sound. In Aboulela's own words: ‘I write about what I find moving and disturbing. Culture-shock or how, again and again, the carpet gets pulled from under our feet.’ In her short stories ‘The Ostrich’ (1997), ‘The Museum’ (2000), and ‘Missing Out’ (2010), Aboulela makes familiar and demystifies the experiences of Muslim women as they migrate from Sudan to the UK. In fact such, she produces similar work to fellow post-nationalist writers. In her short stories, she lifts the limitations on writing in and about the nation state by globalizing the African experience, while at the same time individualizing it. Aboulela's characters long for highly personalized and intimately constructed notions of home. Her stories reflect the general path on which the African short story writer is moving, reaching toward an expression of the African experience that is plural rather than singular, familiar rather than exotic and other, relevant and central rather than token and peripheral. This essay examines the ways in which Aboulela's female Muslim characters articulate their notions of faith and home as a liberating practice, and, as a result, how Aboulela participates in a new iteration of the African short story.