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Written as a letter from a Zimbabwean mother to her daughter, a student at Harvard, J. Nozipo Maraire evokes the moving story of a mother reaching out to her daughter to share the lessons life has taught her and bring the two closer than ever before. Interweaving history and memories, disappointments and dreams, Zenzele tells the tales of Zimbabwe's struggle for independence and the men and women who shaped it: Zenzele's father, an outspoken activist lawyer; her aunt, a schoolteacher by day and secret guerrilla fighter by night; and her cousin, a maid and a spy. Rich with insight, history, and philosophy, Zenzele is a powerful and compelling story that is both revolutionary and revelatory--the story of one life that poignantly speaks of all lives.
This is a children's story which provides a basis for parents, teachers and mentors to give life lessons. It is simple but profound on many levels. First and foremost it presents to young minds, the idea that what we do to others, we must be prepared to face ourselves. It provokes thought, consideration and character building in an entertaining way. It exposes young minds to the age old style of African story telling for the present age in a simple language and form as universal as the story itself.
I am a retired Children's Librarian, living in these magnificent mountains. I often sit in the garden and wonder who had lived here in the past and how they had survived. My story is an attempt to link the past and the present and satisfy my curiosity.
The profound effects of colonialism and its legacies on African cultures have led postcolonial scholars of recent African literature to characterize contemporary African novels as, first and foremost, responses to colonial domination by the West. In Africa Writes Back to Self, Evan Maina Mwangi argues instead that the novels are primarily engaged in conversation with each other, particularly over emergent gender issues such as the representation of homosexuality and the disenfranchisement of women by male-dominated governments. He covers the work of canonical novelists Nadine Gordimer, Chinua Achebe, NguÅgiÅ wa Thiong'o, and J. M. Coetzee, as well as popular writers such as Grace Ogot, David Maillu, Promise Okekwe, and Rebeka Njau. Mwangi examines the novels' self-reflexive fictional strategies and their potential to refigure the dynamics of gender and sexuality in Africa and demote the West as the reference point for cultures of the Global South.
Contributors to this volume ask what are the new directions of African literature? What should be the major concerns of writers, critics and teachers in the twenty-first century? What are the accomplishments and legacies? What gaps remain to be filled, and what challenges are there to be addressed by publishers and the book industry? What are the implications for pedagogy in the new technological era? ERNEST EMENYONU is Professor of the Department of Africana Studies University of Michigan-Flint. North America: Africa World Press; Nigeria: HEBN
Many teachers of African studies have found novels to be effective assignments in courses. In this guide, teachers describe their favourite African novels - drawn from all over the continent - and share their experiences of using them in the classroom.
Sixteen-year-old Zenzele is not prepared to stand by while her father, Sizwe, dies of AIDS. Instead, she and her ten-year-old sister Mpumelelo journey from the townships to an exclusive Pretoria suburb to find their estranged uncle Vusi and ask for his help.
Collects arcs 7–9 and the FCBD special of RICK REMENDER and WES CRAIG’s DEADLY CLASS, a darkly humorous coming-of-age drama that follows the teens of Generation X as they navigate a secret assassin academy training them to become corrupt tools of evil. This deluxe oversized hardcover, bursting at the seams with sketches, concept art, variant covers, and other extras, is the ultimate way to experience the 1980s underground! Collects DEADLY CLASS #32-44 and FCBD 2019 DEADLY CLASS “Killer Set” One-Shot
“Impressive . . . [Cristina García’s] story is about three generations of Cuban women and their separate responses to the revolution. Her special feat is to tell it in a style as warm and gentle as the ‘sustaining aromas of vanilla and almond,’ as rhythmic as the music of Beny Moré.”—Time Cristina García’s acclaimed book is the haunting, bittersweet story of a family experiencing a country’s revolution and the revelations that follow. The lives of Celia del Pino and her husband, daughters, and grandchildren mirror the magical realism of Cuba itself, a landscape of beauty and poverty, idealism and corruption. Dreaming in Cuban is “a work that possesses both the intimacy of a Chekov story and the hallucinatory magic of a novel by Gabriel García Márquez” (The New York Times). In celebration of the twenty-fifth anniversary of the novel’s original publication, this edition features a new introduction by the author. Praise for Dreaming in Cuban “Remarkable . . . an intricate weaving of dramatic events with the supernatural and the cosmic . . . evocative and lush.”—San Francisco Chronicle “Captures the pain, the distance, the frustrations and the dreams of these family dramas with a vivid, poetic prose.”—The Washington Post “Brilliant . . . With tremendous skill, passion and humor, García just may have written the definitive story of Cuban exiles and some of those they left behind.”—The Denver Post