Against a disturbing political backdrop and through an in-depth appraisal of selected illustrative texts from major genres-poetry, prose, and drama-Emmanuel Fru Doh presents the origins and growth of a young but potent literature. To him, Anglophone-Cameroon literature is a weapon in the hands of an oppressed English speaking minority in his native Cameroon, Africa, who were unfairly manipulated by the United Nations and Britain into a skewed federation in the name of an independence deal.

Emmanuel Fru Doh, a native of Cameroon, holds a Ph.D. from the University of Ibadan, Ibadan, Nigeria. He taught at the University of Yaounde (E.N.S. Bambili) for almost a decade-the 90s-before leaving for the US. He then had a brief stint as an Adjunct Professor at the University of Minnesota before settling into the Department of English at Century, a College within the Minnesota State Colleges and Universities (MnSCU) System. Poet, novelist, social and literary critic, Emmanuel Fru Doh is the author of Nomads: The Memoir of a Southern Cameroonian.

In Nomads, Emmanuel Fru Doh combines historical fact, legend, and rumour to emerge with a memoir charged with nostalgia. In the process, he merges scenes and events from several lives and the process of nation building as they all unfold and mature with the passing of time. It becomes obvious that these are somber moments in Doh's life and that of the Cameroon nation, a nation that in recent decades selfish and reckless leaders without goodwill, foresight, or true love for the fatherland have succeeded in destroying. It all boils down to one fact: indeed, there has always been a socio-political agenda by the Francophone-dominated regimes, but it had nothing to do with building a truly united Cameroon. The plan has always been to tactfully subdue and eventually neutralize the Anglophone dimension of the union.

Shadows, as the title insinuates, splits open and lays bare the frightening vision of humanity, the heart of man depressed, a veritable inferno in which there is little to be enjoyed and everything to be endured, as all is vanity, a gnawing emptiness. Nothing is but what it seems. Simple but without being simplistic, there is in the damp climate of Doh's poetry broken promises, displaced emotional centres, a pervading sense of doom, of impending disaster, and a total helplessness reminiscent of Plato's proverbial mythical cave in which all reality is but shadow, devoid of substance, with the observer chained to the walls of his feelings, beliefs, and unfulfilled ambitions. The second section, 'Celebration', is, however, a source of warmth, of light, the sun's rays in an otherwise damp and and dark collection.

Characteristically, Africans in any Western country are asked so many different questions about "Africa," as Westerners love to refer to the many countries that make up that huge continent, as if Africa were a single nation state. So one begins wondering why it is that Africans, on the other hand, do not refer to individual European countries as "Europe" simply, then the trends and consequences of stereotyping begin setting in just as one is getting used to being asked if Africa has a president, or if one can say something in African. It is some of these questions that Emmanuel Fru Doh has collected over the years and has attempted answering them in an effort to shed some light on a continent that is in many ways like the rest of the world, when not better, but which so many love to paint as dark, backward, chaotic, and pathetic.

ORIKI'BADAN, is an entertaining, revealing, and equally didactic poem in which Doh, through an enchanting metaphorical backdrop, recaptures a memorable era-rich, diverse, challenging, yet gratifying-in the life of a distinguished institution-the University of Ibadan, Nigeria. Characteristically bitter about those in power and the socio-political state of affairs on the African continent, this is a rare shot of Doh paying glaring tribute to his alma mater along with the distinguished faculty and student body that gave Ibadan its character during his days there as a student.

Wading the Tide is an expression of profound emotions touching on a wide range of issues-personal and political-from the birth of the Cameroon nation, her political meandering, until the state of emergency declared on the North West Province in 1992. Accordingly, Doh complains, ridicules, and pays tribute, even as he instructs and guides on timeless matters of life, all in an effort to draw attention to his country's gradual, downward spiral into anomy.

Africa's Political Wastelands explores and confirms the fact that because of irresponsible, corrupt, selfish, and unpatriotic kleptocrats parading as leaders, the ultimate breakdown of order has become the norm in African nations, especially those south of the Sahara. The result is the virtual annihilation of once thriving and proud nations along with the citizenry who are transformed into wretches, vagrants, and in the extreme, refugees. Doh uses Cameroon as an exemplary microcosm to make this point while still holding imperialist ambitions largely responsible for the status quo in Africa. Ultimately, in the hope of jumpstarting the process, he makes pertinent suggestions on turning the tide on the continent.

Not Yet Damascus celebrates a tumultuous era without patriotic leaders willing to transform their national wastelands into thriving bastions. The collection salutes and queries: a panoramic collection intended for the sensitization of all, hence the simple yet evocative approach. "Poetry can be therapeutic, allowing the poet to work through issues in life; to find solutions, clarity, comfort, and peace of mind. It provides a vehicle of expression for diverse attitudes and fresh insights. Emmanuel Fru Doh has achieved this feat in this collection of poems Not Yet Damascus. He speaks in a confident tone of prophetic utterances: advising, warning, denouncing, protesting and chiding. His poetry has the twin virtues of relevance and simplicity of diction. He has eschewed the obscurantist ineloquence and syntactic jugglery of traditional poets. Passion, energy and cutting irony are the hallmarks of the poems in the anthology." - Peter Wuteh Vakunta, University of Wisconsin-Madison, USA "This is the passionate poetry of a patriotic son of Cameroon. Here is a contemplative, sensitive soul that watches and registers on his emotional meter, and in potent imagery, the terrible damage done to his people, country, and continent." - Shadrach Ambanasom, Professor of Literature, University of Yaounde I (E.N.S. Annex Bambili), Cameroon

In Africa, there is unrest, and possibly tragedy, when new trends clash with traditional values. With a curmudgeonly stepmother who harasses her even as she spoils her own biological daughter, Mungeu', the protagonist, blazes a path for herself in the face of many odds. But things go terribly wrong when she falls pregnant. The dilemma of whether or not to keep the pregnancy, given society's expectations, flings this young woman into direct confrontation with a life that is beyond her years. She is bent on succeeding: she will keep her baby, and with her training at a girls' craft center, start a business and bring up her illegitimate child. But Mungeu' can only make plans as she realises before long that the authority to dispose of them does not rest with her alone; there are other powerful forces out there.