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

By Bernth Lindfors, Geoffrey V. Davis

This tribute assortment displays the big variety and variety of James Gibbs's educational pursuits. the point of interest is on Africa, yet comparative stories of alternative literatures additionally obtain recognition. Fiction, drama, and poetry via 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 student 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 incorporated. additionally provided are poems by way 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 analyzing of a script written and co-performed by means of James Gibbs. participants: 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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24 He is so bent on being English that he jettisons traditional custom, which demands that the prospective groom pay a bride price.

James Gibbs, in an enlightening essay based on a painstaking search through old newspapers and archives, re-creates the conditions under which Sekyi produced his play in Cape Coast in 1916. 3 The reason for this lack of an enduring impact of the production may lie in the unpopularity of the issues he raised. Although a chronology of his life, as traced by Gibbs,4 indicates that a year after the production of the play he returned to England to further his education, and thus may not have had the opportunity to reproduce it, there is sufficient evidence, as provided later by Gibbs, to suggest that there were people who were suspicious of Sekyi and were not altogether pleased with his play.

Transposing Codes: Representing the Interpreters in Other Works In the poem “Death in the Dawn,” where a white cock (male chicken) is presented as a sacrificial offering to ward off the anger of the god who has just taken a man’s life, Soyinka presages the misunderstandings that will ultimately besiege the postcolonial political landscape: Traveller you must set forth At dawn. … But such another Wraith! 4 4 Wole Soyinka, Idanre & Other Poems (London: Methuen, 1967): 11. a Interpreting the Interpreters 33 This lament echoes the sentiments in other poems from this period, “In Memory of Segun Awolowo” and Idanre, as well as in the plays A Dance of the Forests and The Road.

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