African Literatures and Beyond: A Florilegium by Bernth Lindfors, Geoffrey V. Davis

By Bernth Lindfors, Geoffrey V. Davis

This tribute assortment displays the wide variety and variety of James Gibbs's educational pursuits. the focal point is on Africa, yet comparative stories of alternative literatures additionally obtain recognition. Fiction, drama, and poetry through writers from Nigeria, Ghana, Sierra Leone, Eritrea, Malawi, Zimbabwe, South Africa, eire, England, Germany, India, and the Caribbean are surveyed along major missionaries, scientists, performers, and students. The writers mentioned comprise Wole Soyinka, Chinua Achebe, Kobina Sekyi, Raphael Armattoe, J.E. Casely Hayford, Michael Dei-Anang, Kofi Awoonor, Ayi Kwei Armah, John Kolosa Kargbo, Dele Charley, Ngũgĩ wa Thiong'o, Okot p'Bitek, Jonathan Sajiwandani, Samuel E. Krune Mqhayi, A.S. Mopeli-Paulus, Kelwyn Sole, Anna Seghers, Raja Rao, and Arundhati Roy. different essays deal with the black presence in eire, nameless rap artists in Chicago, the Jamaican missionary Joseph Jackson Fuller within the Cameroons, the African-American actor Ira Aldridge in Sweden, the Swedish naturalist Anders Sparrman in South Africa, and the literary pupil and editor Eldred Durosimi Jones in Sierra Leone. Interviews with the Afro-German Africanist Theodor Wonja Michael and the Irish-Nigerian dramatist Gabriel Gbadamosi also are integrated. additionally provided are poems by means of Jack Mapanje and Kofi Anyidoho, brief tales via Charles R. Larson and Robert Fraser, performs by way of Femi Osofisan and Martin Banham, and an account of a dramatic interpreting of a script written and co-performed by means of James Gibbs. members: Anne Adams, Sola Adeyemi, Kofi Anyidoho, Awo Mana Asiedu, Martin Banham, Eckhard Breitinger, Gordon Collier, James Currey, Geoffrey V. Davis, Chris Dunton, Robert Fraser, Raoul J. Granqvist, Gareth Griffiths, C.L. Innes, Charles R. Larson, Bernth Lindfors, Leif Lorentzon, Jack Mapanje, Christine Matzke, Mpalive-Hangson Msiska, Femi Osofisan, Eustace Palmer, Jane Plastow, Lynn Taylor, and Pia Thielmann.

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Indeed, he has so successfully concealed his evil deeds that his sister still regards her herb-collecting as an antidote to the carnage and mayhem of the battlefront, as a peaceful ‘counterhegemonic’ endeavour. She confides in him, saying, We heard terrible things. So much evil. Then I would console myself that I earned the balance by carrying on your work. One thing cancels out another. (246) In fact, her act of ‘counter-identification’ with dominant ideology has already been appropriated for ‘the hegemonic’.

However, it needs to be recognized that Soyinka does not essentialize the virtues of the ‘indigenous episteme’, but, rather, emphasizes its ethical performance. In Madmen and Specialists, he is contending that postcolonial modernity in Africa has abandoned not only the positive values of traditional culture but equally those of Europe and that, as a consequence, it has aligned itself with destructive forces – whether local or imported – and has turned the postcolonial moment into a re-enactment of the violence of colonial conquest and administration.

Among the interpreters, Egbo seems the most intuitive, the most reflective, and the most narcissistic. Egbo refuses to accept the throne of Osa, a small fishing community, after the death of his maternal grandfather, in place of his parents, who rightly should have become leaders but who had died in a boat accident. Not sure, either, of his role as a top bureaucrat in the Foreign Office of the newly independent country, he drifts midstream as the tide rises and falls, wavering like a reed and unable to make up his mind.

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