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This suspenseful short story by Abdul Adan (Somalia) explores the lengths one young man will go to prove his worth for the woman he loves. Alongside an interview with the author, this story originally appeared in the anthology "Gambit: Newer African Writing" (The Mantle, 2014).
Though often associated with foreigners and refugees, many Somalis have lived in Kenya for generations, in many cases since long before the founding of the country. Despite their long residency, foreign and state officials and Kenyan citizens often perceive the Somali population to be a dangerous and alien presence in the country, and charges of civil and human rights abuses have mounted against them in recent years. In We Do Not Have Borders, Keren Weitzberg examines the historical factors that led to this state of affairs. In the process, she challenges many of the most fundamental analytical categories, such as “tribe,” “race,” and “nation,” that have traditionally shaped African historiography. Her interest in the ways in which Somali representations of the past and the present inform one another places her research at the intersection of the disciplines of history, political science, and anthropology. Given tragic events in Kenya and the controversy surrounding al-Shabaab, We Do Not Have Borders has enormous historical and contemporary significance, and provides unique inroads into debates over globalization, African sovereignty, the resurgence of religion, and the multiple meanings of being African.
...Is a unique collection of nine interviews and original short stories by emerging writers from across Africa. The stories in this anthology reflect the nuances that arise from living in a post-postcolonial Africa, where stereotypes are crumbling and writers are willing to tackle themes that are more social than political. Unlike other anthologies of African writing, Gambit's contributors are mostly based in their home countries, putting them closer to the themes they lyrically confront. The interviews provide insight into the writers' inspirations, fears, hopes, and craft. The short stories reveal a range of experiences that are alive with grace, resilience, and humor. Gambit is one way to rediscover today's writing from the African continent. Book jacket.
From the critical and commercial success of Kwani? 01 came the next edition, kwani? 02, in 2004. This edition features contemporary literary Kenyan concerns themed on the question of identity. Building on the first issue, kwani? 02 offers all that kwani? 01 did and mirrors the post-millennial angst of young Kenyan writers, poets, cartoonists and photographers. Once again, kwani? featured in the Caine Prize for African writing 2004 when Parselelo Kantaiís Comrade Lemma and the Black Jerusalem Boys Bandwas runner up. Uwem Akpanís An Xmas Feast has since been re-worked and published in the New Yorker magazine ñ the first time an African writer has been featured in that prestigious magazine.
Kwani? is arguably Africa's most exciting and varied literary initiative of recent years. Describing itself as ?a magazine of ideas, [that] seeks to entertain, provoke and create?, Kwani? commissions and publishes stories, poetry, art and photography ?from all around the African continent and the diaspora'. Rejecting artificial divisions of high and low art and literary snobbery, it is dedicated to the flourishing of literature in Kenya and the of African cultural values. Kwami? 01 is widely available outside Africa for the first time. The volume features the writings of numerous prize-winners. It includes the short story, ?The Weight of Whispers?, by Yvonne Adhiambo Owuor, which won The Caine Prize for African Writing in 2003. Yvonne Owuor is also a screenplay writer, and Executive Director of the Zanzibar International Film Festival. Other contributions are from Parsilelo Kantai, who was short-listed for the Caine Prize in 2004;drawings from Gaddo, one of East Africa's foremost political cartoonists; photographs from the photo-journalist Marion Kaplan; and interviews with ?ghetto youths? conducted by the editor.
Science has given us several explanations for how humans evolved from walking on four limbs to two feet. None, however, is as riveting as what master storyteller Ngũgĩ wa Thiong'o offers in The Upright Revolution. Blending myth and folklore with an acute insight into the human psyche and politics, Wa Thiong'o conjures up a fantastic fable about how and why humans began to walk upright. It is a story that will appeal to children and adults alike, containing a clear and important message: "Life is connected." Originally written in Gikuyu, this short story has been translated into sixty-three languages--forty-seven of them African--making it the most translated story in the history of African literature. This new collector's edition of The Upright Revolution is richly illustrated in full color with Sunandini Banerjee's marvellous digital collages, which open up new vistas of imagination and add unique dimensions to the story.
Fiction. African & African American Studies. A young woman loses her grip on reality, destroyed by being the mistress of a powerful general. A pastor hides the innocent from marauding gangs hyped up by post- election fervor. A philosophy professor struggles against his better judgment to save everyone but himself. In present day Nigeria, there are many centers of the universe. Told from various points of view, THE SOUND OF THINGS TO COME departs from the strictures of linear narratives. Loosely centered on the activities of a church, the many colorfully drawn characters in Emmanuel Iduma's breakthrough novel illuminate the complex interconnectedness of a community where individuals struggle through their own painful dramas. First published in 2012 as Farad in Nigeria, Iduma's novel is the disruptive harbinger of Nigeria's rising generation of writers. "Iduma's prose is always fresh and illuminating. Intelligent, haunting and evocative, The Sound of Things to Come marks him as a unique talent to watch." --Ayobami Adebayo "In THE SOUND OF THINGS TO COME to Come Emmanuel Iduma deploys a meta-psychological technique where his characters are dissected for both experiences and motives. The innards of his characters are exhibited as though for contemplation...And in spite of this experimental foray, their humanity is left intact." --Dami Ajayi "THE SOUND OF THINGS TO COME, Emmanuel Iduma's formally adventurous and uncommonly sophisticated debut, seduces us into becoming witnesses to the quiet desperation in the lives of a diverse cast of sympathetically drawn characters. The gradual revelation of the connections between these disparate lives illuminates the unpredictable workings of our common humanity and compels us to confront our shared vulnerabilities. THE SOUND OF THINGS TO COME privileges the road less travelled in its aesthetic choices. It is an essential read for anyone interested in unconventional fictional investigations of contemporary experience." --Rotimi Babatunde "Like an expert charmer, Emmanuel Iduma strings the reader along with delectable character portraits, building anticipation until the last page. THE SOUND OF THINGS TO COME announces the arrival of another talented writer." --Abubakar Adam Ibrahim "Style and thematic matrix create a sense of the uncanny. Terse but lyrical prose and often-cryptic dialogue suggest hidden depths. Woven throughout are fragments of a shared postmodern culture that brackets Dostoyevsky and Kate Chopin, Eliot and Mia Couto, Hollywood and Nollywood, Europop and hip-hop, email and Twitter, elliptical quotes, as from Toibin's The Story of the Night and Mercier's Night Train to Lisbon, and bits of songs that sign both angst and 'a new dawn, ' like Michael Buble's cover of 'Feeling Good' and Colbie Caillat's 'The Little Things.' Together they convey alienation and the thirst for connection and meaning." --Michele Levy
Britney Spears loathes meatloaf and “all lumpy stuff.” Arturo Toscanini hated fish. Ayn Rand despised salads. Alexander Theroux’s Einstein’s Beets is a study of the world of food and food aversions. The novelist and poet probes the secret and mysterious attitudes of hundreds of people―mostly famous and well-known―toward eating and dining out, hilariously recounting tales of confrontation and scandalous alienation: it contains gossip, confession, embarrassment, and perceptive observations.
In 1889, the first Official Secrets Act was passed, creating offences of 'disclosure of information' and 'breach of official trust'. It limited and monitored what the public could, and should, be told. Since then a culture of secrecy has flourished. As successive governments have been selective about what they choose to share with the public, we have been left with a distorted and incomplete understanding not only of the workings of the state but of our nation's culture and its past. In this important book, Ian Cobain offers a fresh appraisal of some of the key moments in British history since the end of WWII, including: the measures taken to conceal the existence of Bletchley Park and its successor, GCHQ, for three decades; the unreported wars fought during the 1960s and 1970s; the hidden links with terrorist cells during the Troubles; the sometimes opaque workings of the criminal justice system; the state's peacetime surveillance techniques; and the convenient loopholes in the Freedom of Information Act. Drawing on previously unseen material and rigorous research, The History Thieves reveals how a complex bureaucratic machine has grown up around the British state, allowing governments to evade accountability and their secrets to be buried.
A unique historical and linguistic resource for those in anthropology, art, folklore, history, linguistics, literature, psychology, religion, sociology, and environmental studies, as well as performers and poets. Not simply relics of the past, proverbs are an oral tradition containing historical and anthropological knowledge missing from conventional sources, and as micro-histories, provide a valuable source for the reconstruction of the manners, characteristics, and worldviews of societies. While only a few hundred Kamba proverbs have ever appeared in print, thousands have circulated over time, from the monsoon exchange era of the Roman Empire through the advent of Islam, European imperialism and colonialism to independence. Today, a resurgence of interest in the form has been generated via social media, songs and vernacular radio programmes. This book provides the first, comprehensive collection of Kamba proverbs from Eastern Kenya in their original Kĩkamba language and in translation. Analysing 2,000 proverbs drawn from oral interviews, archival collections, museum artefacts and published sources, the author traces the origins of each and explores their meaning, interpretation and use. Covering a diverse range of subjects that ranges from plants, animals, birds and insects, to weather, land, the roles of men and women, cosmology, ritual and belief, healing, trade, politics and peacemaking, the book offers new insights into Kenya's rural world and the expansion of Kamba society, East African history, language and culture of vital significance for the social sciences. A valuable comparative work for societal change elsewhere in Africa and beyond, the book also suggests an innovative, alternative approach to the study of the African past.