Though known primarily as a poet, Langston Hughes crafted well over 40 theatrical works. This book examines Hughes's stage pieces from his first published play, "The Gold Piece" (1921), through his post-radical wartime effort, "For This We Fight" (1943). Hughes's stage writing of this period includes such forms as the folk comedy, the protest drama, the historical play and the blues opera. McLaren concludes that the democratic argument is ultimately employed by Hughes to challenge segregation in the military and that Hughes's iconography prefigures the black aesthetic of the 1960s. Photographs complement the text.

McLaren demonstrates that Hughes's folk comedies, such as "Mule Bone" (1930) and "Little Ham" (1936), valorize folk humor and black vernacular. Written in collaboration with Zora Neale Hurston, "Mule Bone" resulted in a literary controversy. The study also analyzes Hughes's radical plays, including "Scottsboro Limited" (1931) and "Don't You Want to Be Free?" (1938), which blend poetry and drama. Also addressed is Hughes's association with community drama groups, especially Karamu Theatre in Cleveland and the Harlem Suitcase Theatre, which premiered "Don't You Want to Be Free?" and a number of Hughes's satires. In the early 1940s, Hughes entered his post-radical period but continued to protest fascism and celebrate black heroes and heroines. This transition is reflected in his critique of Richard Wright's "Native Son." McLaren concludes that the democratic argument is used to challenge segregation in the military and that Hughes's iconography prefigures the black aesthetic of the 1960s. This book will be of great interest to students and scholars of radical theatre and African American drama. Photographs complement the text.

This issue of African Literature Today focuses on new novels by emerging as well as established African novelists. This is a seminal work that discusses the validity of the perception that the new generation of African novelists is remarkably different in vision, style, and worldview from the older generation. The contention is that the oldergeneration novelists who were too close to the colonial period in Africa had invariably made culture-conflict and little else their dominant thematic concern while the younger generation novelists are more versatile in their thematic preoccupations, and are more global in their vision and style. Do the facts in the novels justify and validate these claims? The 13 papers in this volume have been carefully selected to consider these issues. Brenda Cooper a renowned literary scholar from Cape Town writes on Chimamanda Ngozi Adichie's Purple Hibiscus, while Charles Nnolim writes about Adichie's more recent novel Half of a Yellow Sun; Omar Sougou of Universite GastonBerger, Senegal discusses 'ambivalent inscriptions' in Buchi Emecheta's later novels; Clement Okafor of the University of Maryland, addresses the theme of 'racial memory' in Isidore Okpewho's Call Me By My Rightful Name, juxtaposed between the world of the old and the realities of the present. Joseph McLaren, Hofstra University, New York, discusses Ngugi's latest novel, Wizard of the Crow, while Machiko Oike, Hiroshima University, Japan looksat a new theme in African adolescent literature, 'youth in an era of HIV/AIDS'. There is abundant evidence of the contrasts and diversities which characterize the African novel not only geographically, but also ideologically andgenerationally. ERNEST EMENYONU is Professor of the Department of Africana Studies University of Michigan-Flint. Nigeria: HEBN

The complexity of African society entering the 21st century necessitates an interdisciplinary examination of Africa's political, social, and cultural developments and challenges. Focusing on Social Movements and Literature, Social Change and Culture, the book brings together a wide range of essays by committed scholars, writers, and activists concerned with progressive approaches to Africa's dilemmas. Beginning with an overview by anthropologist Cheryl Mwaria, African Visions addresses such issues as structural adjustments, religious freedom, human rights, democratization, educational movements, and health care. Particular analyses consider intellectual property, student activism, and the AIDS epidemic. Mwaria, Federici, and McLaren also explore the way social and cultural questions have been treated in literary works and theoretical studies dealing with hybridity, sexual politics, literacy, socialist orientations, and language. Noted literary scholars Odun Balogun and Alamin Mazrui consider aspects of these issues. The collection also examines trends in literature, publishing, and theater in such countries as Algeria, Niger, Nigeria, and South Africa in relation to themes such as gender, popular culture, African novels, and protest. Highlighting articles by two of Africa's leading activist/writers Dennis Brutus of South Africa, stressing regional cooperation, and Ngugi wa Thiong'o of Kenya, advocating African languages, African Visions avoids the pessimism associated with numerous 20th century studies. Brutus and Ngugi consider the economic and cultural effects of globalization and the necessity for promoting self-determination. An essential resource for all scholars and students concerned with contemporary African life and culture.

Composer of more than 100 jazz pieces, three-time Grammy nominee, and performer on more than 125 albums, saxophonist Jimmy Heath has earned a place of honor in the history of jazz. Over his long career, Heath knew many jazz giants, such as Charlie Parker, and played with other innovators, including John Coltrane, Miles Davis, and especially Dizzy Gillespie. Along the way, Heath won both their respect and their friendship. In this extraordinary autobiography, the legendary Heath creates a "dialogue" with musicians and family members. As in jazz, where improvisation by one performer prompts another to riff on the same theme, I Walked with Giants juxtaposes Heath's account of his life and career with recollections from jazz giants about life on the road and making music on the world's stages. His memories of playing with his equally legendary brothers, Percy and Albert (aka "Tootie"), dovetail with their recollections. Heath reminisces about a South Philadelphia home filled with music and a close-knit family that hosted musicians performing in the city's then thriving jazz scene. Milt Jackson recalls, "I went to their house for dinner. . . . Jimmy's father put Charlie Parker records on and told everybody that we had to be quiet till dinner because he had Bird on. . . . When I [went] to Philly, I'd always go to their house." Today Heath performs, composes, and works as a music educator and arranger. By turns funny, poignant, and extremely candid, Heath's story captures the rhythms of a life in jazz.

"I Wonder As I Wander" (1956), Hughes's second volume of autobiography, is a continuation from "The Big Sea, " detailing his global travels to such areas as Cuba, Haiti, Paris, the Soviet Union, and the Far East. It culminates in his 1937 coverage for the "Baltimore Afro-American" of the Spanish Civil War. The travelogue highlights the beginning of Hughes's career as a journalist, a further realization of his goal to live as a professional writer. Furthermore, it shows the influence of legendary black educator Mary McLeod Bethune, who inspired Hughes to travel through the South giving readings of his poetry. His recollections of American journeys place him as well in Carmel, California, and the San Francisco area, where he was befriended by Noel Sullivan and was among the set of Hollywood personalities sometimes including James Cagney, Greta Garbo, Jean Harlow, as well as Indian mystic J. Krishnamurti. Hughes also shows readers the lighter side of his adventures in the Caribbean, where he experienced the rhythms of Afro-Cuban music and the wonders of such sights as the Citadel in Haiti.

In 1932, having traveled with a group of African Americans to the Soviet Union to make a film about southern black steelworkers and domestic laborers, Hughes became familiar not only with Moscow's theatrical life but also with "colored" minorities in the new republics of Soviet Central Asia. As a wanderer, he carried with him a record player and a collection of jazz recordings and became an informal participant in "cultural exchange." For Hughes, the lack of appreciation of jazz by Russian ideologues was a major flaw in the system. In Tokyo and Shanghai, he learned about Asian global politics and tough street life, and in Paris he reacquainted himself with its nightlife and such personalities as Ada "Bricktop" Smith and Josephine Baker.

Throughout his journey, he observed the presence of blacks, whether as entertainers in major capitals or as soldiers on the battlefront in Barcelona and Madrid. His coverage of the Spanish Civil War is a serious report of the tragedy of conscripted North African Moors and the heroic efforts of the International Brigades and such African Americans as Milton Herndon in their fight against fascism. Spain is also a window into flamenco musical culture, where singers such as Pastora Pavon offer their own form of the blues.

In rare moments, Hughes reveals aspects of his personal romantic encounters. Also of great interest are his recollections of writers Arthur Koestler, Nicolas Guillen, Pablo Neruda, and Ernest Hemingway. "I Wonder As I Wander" shows how Hughes maintained a Harlem-derived black consciousness, while expanding it through global wandering.