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This book is an exploration of the material conditions of the
production of African literature. Drawing on the archives of
Heinemann's African Writers Series, it highlights the procedures,
relationships, demands, ideologies, and counterpressures engendered
by the publication of three major authors: Chinua Achebe, Wole
Soyinka, and Ngugi wa Thiongo. As a study of the history and
techniques of African literary texts, this book advances a theory
of reciprocity of effects - what it terms 'auto-heteronomy' - to
describe the dynamic of formalist activism by which texts
anticipate and shape the forces of literary production in advance.
It serves as a departure from the 'death of the author' thesis by
reconsidering the role of the author in African literature and
culture industry, as well as the influence of African publics on
writers' aesthetic choices, and on the overall processes of
production. This work is a major contribution to African literary
history, literary criticism, and book history.
Frieda Ekotto, Kenneth W. Harrow, and an international group of
scholars set forth new understandings of the conditions of
contemporary African cultural production in this forward-looking
volume. Arguing that it is impossible to understand African
cultural productions without knowledge of the structures of
production, distribution, and reception that surround them, the
essays grapple with the shifting notion of what "African" means
when many African authors and filmmakers no longer live or work in
Africa. While the arts continue to flourish in Africa, addressing
questions about marginalization, what is center and what periphery,
what traditional or conservative, and what progressive or modern
requires an expansive view of creative production.
Frieda Ekotto, Kenneth W. Harrow, and an international group of
scholars set forth new understandings of the conditions of
contemporary African cultural production in this forward-looking
volume. Arguing that it is impossible to understand African
cultural productions without knowledge of the structures of
production, distribution, and reception that surround them, the
essays grapple with the shifting notion of what "African" means
when many African authors and filmmakers no longer live or work in
Africa. While the arts continue to flourish in Africa, addressing
questions about marginalization, what is center and what periphery,
what traditional or conservative, and what progressive or modern
requires an expansive view of creative production.
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