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Greed, frustrated love, traffic jams, infertility, politics, polygamy. These--together with depictions of traditional village life and the impact of colonialism made familiar to Western readers through Chinua Achebe's writing--are the stuff of Nigerian fiction. Bearing Witness examines this varied content and the determined people who, against all odds, write, publish, sell, and read novels in Africa's most populous nation. Drawing on interviews with Nigeria's writers, publishers, booksellers, and readers, surveys, and a careful reading of close to 500 Nigerian novels--from lightweight romances to literary masterpieces--Wendy Griswold explores how global cultural flows and local conflicts meet in the production and reception of fiction. She argues that Nigerian readers and writers form a reading class that unabashedly believes in progress, rationality, and the slow-but-inevitable rise of a reading culture. But they do so within a society that does not support their assumptions and does not trust literature, making them modernists in a country that is simultaneously premodern and postmodern. Without privacy, reliable electricity, political freedom, or even social toleration of bookworms, these Nigerians write and read political satires, formula romances, war stories, complex gender fiction, blood-and-sex crime capers, nostalgic portraits of village life, and profound explorations of how decent people get by amid urban chaos. Bearing Witness is an inventive and moving work of cultural sociology that may be the most comprehensive sociological analysis of a literary system ever written.
This book is made up of twenty-three stories, each from a different author from across the globe. All belong to one world, united in their diversity and ethnicity. And together they have one aim: to involve and move the reader. The range of authors takes in such literary greats as Chimamanda Ngozi Adichie and Jhumpa Lahiri, and emerging authors such as Elaine Chiew, Petina Gappah, and Henrietta Rose-Innes. The members of the collective are: Elaine Chiew (Malaysia) Molara Wood (Nigeria) Jhumpa Lahiri (United States) Martin A Ramos (Puerto Rico) Lauri Kubutsile (Botswana) Chika Unigwe (Nigeria) Ravi Mangla (United States) Chimamanda Ngozi Adichie (Nigeria) Skye Brannon (United States) Jude Dibia (Nigeria) Shabnam Nadiya (Bangladesh) Petina Gappah (Zimbabwe) Ivan Gabirel Reborek (Australia) Vanessa Gebbie (Britain) Emmanual Dipita Kwa (Cameroon) Henrietta Rose-Innes (South Africa) Lucinda Nelson Dhavan (India) Adetokunbo Abiola (Nigeria) Wadzanai Mhute (Zimbabwe) Konstantinos Tzikas (Greece) Ken Kamoche (Kenya) Sequoia Nagamatsu (United States) Ovo Adagha (Nigeria) From the Introduction: The concept of One World is often a multi-colored tapestry into which sundry, if not contending patterns can be woven. for those of us who worked on this project, ‘One World’ goes beyond the everyday notion of the globe as a physical geographic entity. Rather, we understand it as a universal idea, one that transcends national boundaries to comment on the most prevailing aspects of the human condition. This attempt to redefine the borders of the world we live in through the short story recognizes the many conflicting issues of race, language, economy, gender and ethnicity, which separate and limit us. We readily acknowledge, however, that regardless of our differences or the disparities in our stories, we are united by our humanity. We invite the reader on a personal journey across continents, countries, cultures and landscapes, to reflect on these beautiful, at times chaotic, renditions on the human experience. We hope the reach of this path will transcend the borders of each story, and perhaps function as an agent of change. Welcome to our world.
Issues for 1965- include section: Annual bibliography of Commonwealth literature, 1964-
This is a groundbreaking new guide to Nigerian,literature including excellent, short,introductions to the major recent periods and,developments in Nigerian literary production and,comprehensive bibliographies of everything from,novels, poetry and drama to criticism and,children's literature. For both new and advanced,scholars of Nigerian literature, this work is,indispensable.
Who's behind that mask? Readers will love creating and wearing masks made out of ordinary household items, such as felt, paper, cardboard, and Popsicle sticks. This book uses easy instructions and accessible text to teach readers how to make each mask, including a lion, rabbit, owl, and robot. Bright visuals showcase each step of the process to give readers a clear idea of their goals. The book begins with a list of materials to set artists up for success. This book is perfect for readers who like acting or playing dress up, or readers who just love making cool crafts out of everyday objects.