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Here you can find Le Clézio's thoughts about his African childhood and about life in remote places. [2] " L'Africain ", the story of the author’s father, is at once a reconstruction, a vindication, and the recollection of a boy who lived in the shadow of a stranger he was obliged to love.
As George Joseph notes in his chapter on African Literature [3] in Understanding Contemporary Africa, whereas European views of literature stressed a separation of art and content, African awareness is inclusive and "literature" can also simply mean an artistic use of words for the sake of art alone. Traditionally, Africans do not radically ...
Several of the essays caution against generalizing all African people into a monolithic culture, or using Africa as a facile metaphor. [2] The opening essay, "An Image of Africa: Racism in Conrad's Heart of Darkness", challenged the prevailing opinions in the west about Joseph Conrad's depiction of African people. [3]
It's hailed as one of the greatest works of fiction to emerge from Africa. But Things Fall Apart was written in English, sparking debate about the colonisation of language.
Decolonising the Mind is split into four essays: "The Language of African Literature," "The Language of African Theatre," "The Language of African Fiction," and "The Quest for Relevance." Several of the book's chapters originated as lectures, and apparently this format gave Ngũgĩ "the chance to pull together in a connected and coherent form ...
The New Negro: An Interpretation (1925) is an anthology of fiction, poetry, and essays on African and African-American art and literature edited by Alain Locke, who lived in Washington, DC, and taught at Howard University during the Harlem Renaissance. [1]
Brittle Paper publishes original content submitted by authors, as well as commissioned reviews, interviews, essays, and other literary work. Having grown into "a thriving community of readers and writers interested in everything about African literature", [12] the blog is regarded as a major publicity platform for new books by African writers.
Chinweizu's notable intervention on this theme came in the essay "The Decolonization of African Literature" (later expanded into the 1983 book Toward the Decolonization of African Literature), to which Soyinka responded in an essay entitled "Neo-Tarzanism: The Poetics of Pseudo-Transition". [3]