This groundbreaking work, first published in 1989, was one of the first to challenge the conventional critical assessment of African literature, and remains highly influential today. Amuta's key argument is that African literature can be discussed only within the wider framework of the dismantling of colonial rule and Western hegemony in Africa. In exploring the possibility of a dialectical, alternative critical base, he draws upon both classical Marxist aesthetics and the theories of African culture espoused by Fanon, Cabral and Ngugi. From these explorations, Amuta derives a new language of criticism, which is then applied to works by modern African writers as diverse as Achebe, Ousmane, Agostinho Neto and Dennis Brutus. Amuta's highly original and innovative approach remains relevant not only for assessing the literature of developing countries, but for Marxist and postcolonial theories of literary criticism more generally. The author's elegance of argument and clarity of exposition makes this a distinguished and lasting contribution to debates around cultural expression in postcolonial Africa.

A collection of playscripts and texts that give an English-reading audience access to key plays as well as less well-known and previously untranslated works - a superb resource for scholars and theatre practitioners. This volume makes available some of the most influential, imaginative and exciting plays to come out of East and West Africa from the 1970s to the present day. Deliberately excluding playscripts by the regions' two best known playwrights, Wole Soyinka and Ngugi wa Thiong'o, whose work was profiled in African Theatre 13 the editors have selected plays, some well-known and some less widely available, that represent the diversity and richness of thesetwo very different African regions. The playscripts include a new translation from Amharic, as well as the English version of a play originally written in French, making more theatre from some of Africa's multitude of languages accessible to an English-reading audience. Each script is accompanied by an essay from an expert on the work, the playwright, and the context in which the play was produced, so that the volume will be of maximum use to both researchers and students of African theatre. Volume Editors: MARTIN BANHAM & JANE PLASTOW Series Editors: Martin Banham, Emeritus Professor of Drama & Theatre Studies, University of Leeds; James Gibbs, Senior Visiting Research Fellow, University of the West of England; Femi Osofisan, Professor of Drama, University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds; Yvette Hutchison, Associate Professor, Department of Theatre & Performance Studies, University of Warwick

Biodun Jeyifo examines the connections between the innovative and influential writings of Wole Soyinka and his radical political activism. Jeyifo carries out detailed analyses of Soyinka's most ambitious works, relating them to the controversies generated by Soyinka's use of literature and theatre for radical political purposes. He gives a fascinating account of the profound but paradoxical affinities and misgivings Soyinka has felt about the significance of the avant-garde movements of the twentieth century. Jeyifo also explores Soyinka's works with regard to the impact on his artistic sensibilities of the pervasiveness of representational ambiguity and linguistic exuberance in Yoruba culture. The analyses and evaluations of this study are presented in the context of Soyinka's sustained engagement with the violence of collective experience in post-independence, postcolonial Africa and the developing world. No existing study of Soyinka's works and career has attempted such a systematic investigation of their complex relationship to politics.

"Backgrounds and Criticism" presents documents on modern African drama generally and on the assembled texts and authors specifically, including little-known materials. Featured are essays on Tawfik al-Hakim, Kateb Yacine, Athol Fugard, Wole Soyinka, Tsegaye Gabre-Medhin, Ama Ata Aidoo, Ngugi Wa Thiong o, and Femi Osofisan. A Chronology and a Selected Bibliography are included."

Examines key contemporary accounts of the civil war and a range of subsequent texts to reveal the ideas behind the conflict and how these frame the understandings of what took place and what it means for contemporary Nigeria. The Nigeria-Biafra War lasted from 6 July 1966 to 15 January 1970, during which time the post-colonial Nigerian state fought to bring the South-Eastern region, which had seceded as the State or Republic of Biafra, back into the newly independent but ideologically divided nation. This volume discusses the trends and methodologies in the civil war writings, both fictional and non-fictional, and is the first to analyse in detail the intellectual and historical circumstances that helped to shape these often contentious texts. The recent high-profile fictional account by Chimamanda Ngozi Adichie in Half of a Yellow Sun was preceded by works by Ken Saro-Wiwa, Elechi Amadi, Kole Omotoso, Wole Soyinka, Flora Nwapa, Buchi Emecheta, Chukwuemeka Ike and Chris Abani, all of which strongly convey the horrific human cost of the war on individuals and their communities. The non-fictional accounts, including Chinua Achebe's last work There Was a Country, are biographies, personal accounts and essays on the causes and course of the war, its humanitarian crises and the collaboration of foreign nations. The contributors examine writers' and protagonists' use of contemporary published texts as a means of continued resistance and justification of the war, the problems of objectivity encountered in memoirs, and how authors' backgrounds and sources determine thekinds of biases that influenced their interpretations, including the gendered divisions in Nigeria-Biafra War scholarship and sources. By initiating a dialogue on the civil war literature, this volume engages a much-needed discourse on the problems confronting a culturally diverse post-war Nigeria. Toyin Falola is the Jacob and Frances Sanger Mossiker Chair in the Humanities and University Distinguished Teaching Professor at the University ofTexas at Austin; Ogechukwu Ezekwem is a PhD student in the Department of History, University of Texas at Austin.

From St. Augustine and early Ethiopian philosophers to the anti-colonialist movements of Pan-Africanism and Negritude, this encyclopedia offers a comprehensive view of African thought, covering the intellectual tradition both on the continent in its entirety and throughout the African Diaspora in the Americas and in Europe. The term "African thought" has been interpreted in the broadest sense to embrace all those forms of discourse - philosophy, political thought, religion, literature, important social movements - that contribute to the formulation of a distinctive vision of the world determined by or derived from the African experience. The Encyclopedia is a large-scale work of 350 entries covering major topics involved in the development of African Thought including historical figures and important social movements, producing a collection that is an essential resource for teaching, an invaluable companion to independent research, and a solid guide for further study.

Biodun Jeyifo examines the connections between the innovative and influential writings of Wole Soyinka and his radical political activism. Jeyifo carries out detailed analyses of Soyinka's most ambitious works, relating them to the controversies generated by Soyinka's use of literature and theatre for radical political purposes. He gives a fascinating account of the profound but paradoxical affinities and misgivings Soyinka has felt about the significance of the avant-garde movements of the twentieth century. Jeyifo also explores Soyinka's works with regard to the impact on his artistic sensibilities of the pervasiveness of representational ambiguity and linguistic exuberance in Yoruba culture. The analyses and evaluations of this study are presented in the context of Soyinka's sustained engagement with the violence of collective experience in post-independence, postcolonial Africa and the developing world. No existing study of Soyinka's works and career has attempted such a systematic investigation of their complex relationship to politics.

Directors and collaborators assess and comment on the production of plays by West Africa's Nobel Laureate Wole Soyinka and East Africa's most influential author Ngugi wa Thiong'o. Wole Soyinka and Ngugi wa Thiong'o are the pre-eminent playwrights of West and East Africa respectively and their work has been hugely influential across the continent. This volume features directors' experiences of recent productions of their plays, the voices of actors and collaborators who have worked with the playwrights, and also provides a digest of their theatrical output. Contributors provide new readings of Ngugi and Soyinka's classic texts, and astimulating new approach for students of English, Theatre and African studies. The playscript for this volume is a previously unpublished radio play by Wole Soyinka entitled A Rain of Stones, first broadcast onBBC Radio 4 in 2002. Volume Editors: MARTIN BANHAM & FEMI OSOFISAN Guest Editor: KIMANI NJOGU Series Editors: Martin Banham, Emeritus Professor of Drama & Theatre Studies, University of Leeds; James Gibbs,Senior Visiting Research Fellow, University of the West of England; Femi Osofisan, Professor of Drama at the University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds; Yvette Hutchison, Associate Professor, Department of Theatre & Performance Studies, University of Warwick

This collection of the most significant and illuminating critical essays about the works of Wole Soyinka over the past three decades is evidence of the international esteem he has achieved. This Nobel Prize winner from Nigeria is arguably Africa's greatest living writer. His novels and plays are appreciated throughout the world. His works have attracted the attention of such acclaimed authors and critics as Wilson Harris, Henry Louis Gates, Jr., Kwame Anthony Appiah, as well as such leading academicians as Philip Brockbank, Joachim Fiebach, Abiola Irele, Femi Osofisan, and Niyi Osundare.

An essay by each of these is included in this volume. Nearly every major contemporary school of critical theory is represented here-from analytic philosophy to reconstructed Marxism, from poststructuralism to postcoloniality, and from feminism to recuperated phenomenology. This diversity of theoretical interests and interpretive approaches unites Soyinka's art with his political activism.

Gathered here in this remarkable collection, the essays simultaneously showcase Soyinka's postcolonial politics and his literary aestheticism. They reveal the irony that the downtrodden peoples whom Soyinka champions are those who cannot read his stirring books or see his compelling dramas.

Biodun Jeyifo was Soyinka's student, junior colleague, and even, Jeyifo says, his "adversary in the ferocious intramural ideological debates within the community of African leftist writers, critics, and academics in the seventies and eighties."

"This book," Jeyifo writes in his introduction, "is the product of an] extensive review of the scholarly aspects of the reception of Soyinka in the last three decades of his career as one of the most influential of writers of Africa."

This volume will afford Soyinka's readers a heightened sense of the wit, humor, and eloquence of this leading writer-activist of Africa and the English-speaking world.

Biodun Jeyifo is a professor of English at Cornell University. He is the author of "The Popular Traveling Theatre of Nigeria" and "The Truthful Lie."

Nobel laureate Wole Soyinka is the most prominent writer from the African continent and one of the greatest living playwrights in the English language. His plays have been produced by the leading professional and repertory companies and stages in the English-speaking world including the National Theatre in Britain and the Lincoln Center in New York.

At the same time, Soyinka has been the most consistent campaigner against civil and human rights violations and abuses, on occasion using his drama, poetry, and essays to speak out powerfully and eloquently in defense of the freedom of ordinary citizens and of the conscience and autonomy of the African continent's writers and intellectuals.

Featuring interviews with Henry Louis Gates, Jr., Anthony Appiah, and the editor, among others, "Conversations with Wole Soyinka" is the first collection of Soyinka's interviews. The volume helps to clarify the place of Soyinka in the canon of modern African literature and the international currents of world literature in English of the last half century.

Within the interviews, Soyinka is forthright, clear, and eloquent. He specifically addresses many facets of his writing and plumbs pressing issues of culture, society, and community in the present period of increasing globalization. With interviewers in Africa, America, and the United Kingdom he discusses the rise of extreme nationalist and fundamentalist movements and ideologies in his homeland.

In particular, the volume throws welcome light on many of the difficulties and obscurities of form and "message" that both academic and non-academic readers find in the most ambitious works of Soyinka. Soyinka says, "I never set out to be obscure. But complex subjects sometimes elicit from the writer complex treatments."

Biodun Jeyifo is a professor of English at Cornell University, in Ithaca, NY. His previous books include "The Popular Traveling Theatre of Nigeria" (1984) and "The Truthful Lie" (1985). He has been published in such periodicals as "Stanford Literature Review," "Research in African Literatures," and "Callaloo."

This groundbreaking work, first published in 1989, was one of the first to challenge the conventional critical assessment of African literature, and remains highly influential today. Amuta's key argument is that African literature can be discussed only within the wider framework of the dismantling of colonial rule and Western hegemony in Africa. In exploring the possibility of a dialectical, alternative critical base, he draws upon both classical Marxist aesthetics and the theories of African culture espoused by Fanon, Cabral and Ngugi. From these explorations, Amuta derives a new language of criticism, which is then applied to works by modern African writers as diverse as Achebe, Ousmane, Agostinho Neto and Dennis Brutus. Amuta's highly original and innovative approach remains relevant not only for assessing the literature of developing countries, but for Marxist and postcolonial theories of literary criticism more generally. The author's elegance of argument and clarity of exposition makes this a distinguished and lasting contribution to debates around cultural expression in postcolonial Africa.