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The essays in this collection are attempts to arrive at a few new truths about writers and their writings based on novel evidence that has been either found by chance or subjected to unusual forms of analysis. The lucky finds include letters by Wole Soyinka, Derek Walcott and Sarah Gertrude Millin. Among the texts examined are Julius Nyerere's Kiswahili translation of Shakespeare's Julius Caesar, some love poems by Dennis Brutus, and a novel and film by Sembene Ousmane. In addition there are several statistical studies that reveal salient patterns in the criticism of anglophone African literature and in the teaching of that literature in South African university English departments. The brain drain of African writers and scholars is also discussed.
In 2003, Olufemi Vaughan received from his ninety-five-year-old father, Abiodun, a trove of more than three thousand letters written by four generations of his family in Ibadan, Nigeria, between 1926 and 1994. The people who wrote these letters had emerged from the religious, social, and educational institutions established by the Church Missionary Society, the preeminent Anglican mission in the Atlantic Nigerian region following the imposition of British colonial rule. Abiodun, recruited to be a civil servant in the colonial Department of Agriculture, became a leader of a prominent family in Ibadan, the dominant Yoruba city in southern Nigeria. Reading deeply in these letters, Vaughan realized he had a unique set of sources to illuminate everyday life in modern Nigeria. Letter writing was a dominant form of communication for Western-educated elites in colonial Africa, especially in Nigeria. Exposure to the modern world and a growing sense of nationalism were among the factors that led people to begin exchanging letters, particularly in their interactions with British colonial authorities. Through careful textual analysis and broad contextualization, Vaughan reconstructs dominant storylines, including themes such as kinship, social mobility, Western education, modernity, and elite consolidation in colonial and post-colonial Nigeria. Vaughan brings his prodigious skills as an interdisciplinary scholar to bear on this wealth of information, bringing to life a portrait, at once intimate and expansive, of a community during a transformative period in African history.
Nigeria’s Nollywood has rapidly grown into one of the world’s largest film industries, radically altering media environments across Africa and in the diaspora; it has also become one of African culture’s most powerful and consequential expressions, powerfully shaping how Africans see themselves and are seen by others. With this book, Jonathan Haynes provides an accessible and authoritative introduction to this vast industry and its film culture. Haynes describes the major Nigerian film genres and how they relate to Nigerian society—its values, desires, anxieties, and social tensions—as the country and its movies have developed together over the turbulent past two decades. As he shows, Nollywood is a form of popular culture; it produces a flood of stories, repeating the ones that mean the most to its broad audience. He interprets these generic stories and the cast of mythic figures within them: the long-suffering wives, the business tricksters, the Bible-wielding pastors, the kings in their traditional regalia, the glamorous young professionals, the emigrants stranded in New York or London, and all the rest. Based on more than twenty years of research, Haynes’s survey of Nollywood’s history and genres is unprecedented in scope, while his book also vividly describes landmark films, leading directors, and the complex character of this major branch of world cinema.
Poetry, Print, and the Making of Postcolonial Literature reveals an intriguing history of relationships among poets and editors from Ireland and Nigeria, as well as Britain and the Caribbean, during the mid-twentieth-century era of decolonization. The book explores what such leading anglophone poets as Seamus Heaney, Christopher Okigbo, and Derek Walcott had in common: 'peripheral' origins and a desire to address transnational publics without expatriating themselves. The book reconstructs how they gained the imprimatur of both local and London-based cultural institutions. It shows, furthermore, how political crises challenged them to reconsider their poetry's publics. Making substantial use of unpublished archival material, Nathan Suhr-Sytsma examines poems in print, often the pages on which they first appeared, in order to chart the transformation of the anglophone literary world. He argues that these poets' achievements cannot be extricated from the transnational networks through which their poems circulated - and which they in turn remade.
In 1665 an anonymous treatise was added to a book skeptical of witchcraft. That book, "The Discoverie of Witchcraft", compiled by Reginald Scot and published in 1584, defended those accused of witchcraft. It also included so many examples of rituals and charms that it became popular with magical practitioners themselves. Although the"Discoverie" has since been reprinted several times, the anonymous material has not been available for over a hundred years. This material features a combination of ceremonial magic, Paracelsian thought, pagan folk rituals, and spirits from John Dee's "A True & Faithful Relation", all mixed into a synthetic whole. "The Magitians Discovered" Volume I is an analysis of who the authors of the anonymous material were, what their worldview was, and what their motivations may have been in assembling and inserting the anonymous material.
Includes music.