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Farah's landmarkVariations on the Theme of an African Dictatorship trilogy is comprised by the novels Sweet and Sour Milk, Sardines, and Close Sesame. In this volume, the third and final book in the series, the characters are deeply entwined in the waking nightmare of a police state. An old man finds himself poised in mortal combat with an elusive and cunning enemy in an atmosphere where the distinction between public and private justice is always obscured. Close Sesame is a novel that offers "an eloquent indictment of the tyrannies committed both under Islamic law and in the name of Socialism" (The Observer).
Keeping track of prolific authors who write fiction series was quite challenging for even the most ardent fan until To Be Continueddebuted in 1995. Noew, readers will be happy that the soon-to-be-released second edition has added 1,600 new books and 400 new series. To Be Continued, Second Edition, maintians the first volume's successful formula that featured concise A-to-Z entries packed with useful information, including titles, publishers, publication dates, genre categories, annotations, and subject terms. Among the genre categories that can be found in To Be Continued are romance, science fiction, crime novel, horror, adventure, fantasy, humor, western, war, Christian fiction, and others.
A close analysis of Farah's novels is used to track the contradictions implicit in the notion of the modern, disengaged self and how transformations of the novel in literary history attempt to negotiate this founding contradiction.
The term 'recent' or 'new' covers novels and some short fiction published between 1980 and 1995, a period characterized by growing pessimism about the state of affairs in both East and West Africa. The section on South Africa deals more narrowly with the 1985-95 watershed marking the end of official apartheid and the beginning of reconstruction. The three sections aim at giving a coherent picture of the main directions in production, highlighting three main centres of interest, Nigeria, Kenya, and the Republic of South Africa, although some novelists from neighbouring countries are also considered (such as Kofi Awoonor from Ghana, Nuruddin Farah from Somalia, and M.G. Vassanji and Abdulrazak Gurnah from Tanzania). The evaluations conducted in the three sections lead to the emergence of a number of common themes, in particular the writers' predilection for topicality, the role of the past, and the controversy over the idea of the nation. Central themes also include the role of women in fending for themselves, both in rural and in urban environments. A further major theme is the role of the past (the Nigerian civil war; the Mau Mau period in Kenya; the revisiting of slavery; the refurbishing of myth; the questioning of historical reconstructions). The preoccupation of the West, East, and South African novel with the idea and ideal of the 'nation' is explored, particularly in the context of migrancy, hybridity, and transculturalism characterizing the anglophone diaspora. The volume is aimed at literary scholars and students and, more generally, readers of fiction seeking an introduction to contemporary literary developments in various parts of sub-Saharan anglophone Africa. No categorical distinction is drawn between 'popular' and 'high' literature. Though still selective and not intended as an exhaustive catalogue, the present survey covers a large number of titles. Rather than resorting to broad and ultimately somewhat abstract thematic categories, the contributors endeavour to keep control over this mass of material by applying a 'micro-thematic' taxonomy. This approach, well-tested in the tradition of literary studies within France, groups works analytically and evaluatively in terms of such categories as actional motifs, plot-frames, and sociologically relevant locations or topics, thereby enabling a clearer focus on the dynamics of preoccupation and tendency that form networks of affinity across the fiction produced in the period surveyed.
“The centrifugal pull of great literature, as embodied by the work of these twenty-five writers, draws us into a fuller realization of our humanity.” ¬– Daniel Simon, editor-in-chief of World Literature Today For the last fifty years, The Neustadt Prize has been one of the most prestigious literary prizes in the world, second only to the Nobel. Poets, novelists, and playwrights from Gabriel Garcia Marquez and Orhan Pamuk to Czeslaw Milosz and Dubravka Ugresic are listed among the ranks of laureate. Now, in honor of the fiftieth anniversary, Dispatches from the Republic of Letters gathers the acceptance speeches of these twenty-five pioneering writers into one volume, edited and with an introduction by World Literature Today editor-in-chief Daniel Simon.
Here is an introduction to the history of English writing from East and West Africa drawing on a range of texts from the slave diaspora to the post-war upsurge in African English language and literature from these regions.
The most comprehensive reference work on African literature to date, this book contains over 600 entries that cover criticism and theory, its development as a field of scholarship, and studies of established and lesser-known writers.
Singing the Law is about the legal lives and afterlives of oral cultures in East Africa, particularly as they appear within the pages of written literatures during the colonial and postcolonial periods. In examining these cultures, this book begins with an analysis of the cultural narratives of time and modernity that formed the foundations of British colonial law. Recognizing the contradictory nature of these narratives (i.e., both promoting and retreating from the Euro-centric ideal of temporal progress) enables us to make sense of the many representations of and experiments with non-linear, open-ended, and otherwise experimental temporalities that we find in works of East African literature that take colonial law as a subject or point of critique. Many of these works, furthermore, consciously adapt orature as an expressive form with legal authority. This affords them the capacity to challenge the narrative foundations of colonial law and its postcolonial residues and offer alternative models of temporality and modernity that give rise, in turn, to alternative forms of legality. East Africa's oral jurisprudence ultimately has implications not only for our understanding of law and literature in colonial and postcolonial contexts, but more broadly for our understanding of how the global south has shaped modern law as we know and experience it today.