Many African countries are caught up in perennial or recurrent political conflicts that often culminate in devastating wars. These flaring conflicts and wars create harrowing economic hardships, dire refugee problems, and sustain a sense of despair in such countries. By their nature, these conflicts and wars affect writers in profound and sometimes paradoxical ways. On the one hand, literature-whether fiction, poetry, drama, or even memoirs-is animated by conflict. On the other hand, the sense of dislocation as well as the humanitarian crises unleashed by wars and other kinds of conflicts also constitute grave impediments to artistic exploration and literary expression. Writers and artists are frequently in the frontline of resistance to the kinds of injustices and abuses that precipitate wars and conflicts. Consequently, they are often detained, exiled, and even killed either by agents of state terror or by one faction or another in the tussle for state control. Writers, Writing Conflicts and Wars in Africa is a collection of testimonies by various writers and scholars who have experienced, or explored, the continent's conflicts and woes, including how the disruptions shape artistic and literary production. The book is divided into two broad categories: in one, several writers speak directly, and with rich anecdotal details about the impact wars and conflicts have had in the formation of their experience and work; in the second, a number of scholars articulate how particular writers have assimilated the horrors of wars and conflicts in their literary creations. The result is an invaluable harvest of reflections and perspectives that open the window into an essential, but until now sadly unexplored, facet of the cultural and political experience of African writers. The broad scope of this collection-covering Darfur, the Congolese crisis, Biafra, Zimbabwe, South Africa, among others-is complemented by a certain buoyancy of spirit that runs through most of the essays and anecdotes. _______________________ * Okey Ndibe teaches fiction and literature at Trinity College in Hartford, Connecticut. He has also taught at Connecticut College in New London, Connecticut as well as Simon's Rock College in Great Barrington, Massachusetts. He was for one year on the editorial board of the Hartford Courant and, from 2001-2002, was a Fulbright professor at the University of Lagos, Nigeria. * Chenjerai Hove is an award-winning Zimbabwean novelist, poet, essayist and journalist whose work has been translated into numerous languages. Educated in Zimbabwe and South Africa, Hove's publications include the novels Bones (winner of the prestigious Noma Award, Baobab Books, Harare, and Heinemann, England, 1988), Shadows (Baobab and Heinemann, 1988), and Ancestors (Macmillan/Picador, England, 1996); such poetry collections as Up In Arms (Zimbabwe Publishing House, 1982), Blind Moon (Weaver Press, Harare, 2003), and Red Hills of Home (Mambo Press, Gweru, 1984). He is also the author of the collection of essays Shebeen Tales (Baobab Books, Harare, and Serif, London, 1994). Hove, who has published several volumes in his indigenous language of Shona, has worked as a columnist, translator, editor and lecturer in Zimbabwe and numerous other countries. Currently on exile in Norway, he has lived and taught in Kenya, the Netherlands, Germany, England, Switzerland, France, and the United States. He recently completed the translation of Shakespeare's King Lear into Shona.

In Shebeen Tales, Zimbabwe's leading author offers a view of his country not from the privileged and insulated perspective of the foreign correspondent or well-heeled visitor, but that of the ordinary person who, with the help of dry wit and illegal beer, pokes fun at the rich and mighty. Struggling against drivers, pompous bureaucrats and the other woes of life in the city, the man in the shebeen sees modern Africa as it really is, not as press releases or tourist brochures would have us believe.

Winner of the Noma Award. Bones is the strikingly poetic and evocative novel by Chenjerai Hove, offering an intimate view into the Zimbabwe War of Liberation and the minds of those who were left behind. 'My bones will rise in the spirit of war. They will sing war-songs with the fire of battle. They will compose new war-songs and fight on until the shrine of the land of their birth are respected once more.' To Marita, an illiterate labourer on a commercial farm, the promise of independence for Rhodesia means very little. Poverty persists and her white boss continues the brutal treatment of his workers. Yet, for her son, it is a matter of life and death. Told through the voices of the people she influenced, we witness Marita's devastation at her son's choice to run away and fight for liberation – and her determination to discover what happened to him. Written in a blend of poetic prose and oral tradition, rich with Shona idioms, Bones asks how a nation can be free when its oppressors remain. 'Chenjerai Hove’s figure looms large in Zimbabwe’s literary pantheon.' Guardian 'A harrowing tale.' New York Times

Many African countries are caught up in perennial or recurrent political conflicts that often culminate in devastating wars. These flaring conflicts and wars create harrowing economic hardships, dire refugee problems, and sustain a sense of despair in such countries. By their nature, these conflicts and wars affect writers in profound and sometimes paradoxical ways. On the one hand, literature-whether fiction, poetry, drama, or even memoirs-is animated by conflict. On the other hand, the sense of dislocation as well as the humanitarian crises unleashed by wars and other kinds of conflicts also constitute grave impediments to artistic exploration and literary expression. Writers and artists are frequently in the frontline of resistance to the kinds of injustices and abuses that precipitate wars and conflicts. Consequently, they are often detained, exiled, and even killed either by agents of state terror or by one faction or another in the tussle for state control. Writers, Writing Conflicts and Wars in Africa is a collection of testimonies by various writers and scholars who have experienced, or explored, the continent's conflicts and woes, including how the disruptions shape artistic and literary production. The book is divided into two broad categories: in one, several writers speak directly, and with rich anecdotal details about the impact wars and conflicts have had in the formation of their experience and work; in the second, a number of scholars articulate how particular writers have assimilated the horrors of wars and conflicts in their literary creations. The result is an invaluable harvest of reflections and perspectives that open the window into an essential, but until now sadly unexplored, facet of the cultural and political experience of African writers. The broad scope of this collection-covering Darfur, the Congolese crisis, Biafra, Zimbabwe, South Africa, among others-is complemented by a certain buoyancy of spirit that runs through most of the essays and anecdotes. _______________________ * Okey Ndibe teaches fiction and literature at Trinity College in Hartford, Connecticut. He has also taught at Connecticut College in New London, Connecticut as well as Simon's Rock College in Great Barrington, Massachusetts. He was for one year on the editorial board of the Hartford Courant and, from 2001-2002, was a Fulbright professor at the University of Lagos, Nigeria. * Chenjerai Hove is an award-winning Zimbabwean novelist, poet, essayist and journalist whose work has been translated into numerous languages. Educated in Zimbabwe and South Africa, Hove's publications include the novels Bones (winner of the prestigious Noma Award, Baobab Books, Harare, and Heinemann, England, 1988), Shadows (Baobab and Heinemann, 1988), and Ancestors (Macmillan/Picador, England, 1996); such poetry collections as Up In Arms (Zimbabwe Publishing House, 1982), Blind Moon (Weaver Press, Harare, 2003), and Red Hills of Home (Mambo Press, Gweru, 1984). He is also the author of the collection of essays Shebeen Tales (Baobab Books, Harare, and Serif, London, 1994). Hove, who has published several volumes in his indigenous language of Shona, has worked as a columnist, translator, editor and lecturer in Zimbabwe and numerous other countries. Currently on exile in Norway, he has lived and taught in Kenya, the Netherlands, Germany, England, Switzerland, France, and the United States. He recently completed the translation of Shakespeare's King Lear into Shona.

Hove is highly regarded as a novelist, poet and essayist in Zimbabwe and internationally. A politically engaged writer, he has also turned to journalism. This timely volume brings together a series of articles, which have previously appreared in his weekly column in The Zimbabwe Standard. Hove, publishing in Zimbabwe, believes the voices of the nation's politically engaged writers - in tune with the mood of the people and the times - are crucial in the current climate of political violence and censorship. To outside media and observers trying to ascertain the truths of the political situation, his writings offer insights from a black Zimbabwean writer and critic. Hove writes for and about Zimbabwe from a perspective that acknowledges recent history, and debates around culture, tradition and democracy. His criticism is uneqivocal, his portrayal of Zimbabwe's politics, damning and unforgiving. His case is that Zimbabwe is a police state, which has inherited pre-indepedence totalitarianism; members of the Government are in politics for reasons of personal gain - they are unsophisticated, poorly educated and have no notion of public office. He believes that the army and police - whom he compares with those of apartheid South Africa, are the politicians' personal weapons, committing acts of crime and terrorism in the President's name and in their own.