This collection honors the career of Donald "Sandy" Petrey, Professor of Comparative Literature at the State University of New York at Stony Brook for over forty years. The diversity of essays - written by colleagues, friends, and former students, and ranging in subject from the traditional Festschrift theme of the honoree's compelling contributions to the study of realism and the novel's role in history, to chapters on Susan Sontag's experimental films, the thought of the late Marxist philosopher Andre Gorz, silence in the graphic novel, and linguistic disparities between American and Standard Italian - attests to the plasticity of Sandy Petrey's mind and the ample indications of his work. Best-known (and well-loved) for his often gruff, no-nonsense style in teaching and prose, Petrey is celebrated by those whose careers and ideas he has helped to nurture, inform, and embolden. This collection is a fine text for courses in nineteenth-century as well as contemporary French studies and literature.

For the first time, Nithap flies across the world to visit his son, Tanou, in the United States. After countless staticky phone calls and transatlantic silences, he has agreed to leave Bangwa: the city in western Cameroon where he has always lived, where he became a doctor and, despite himself, a rebel, where he fell in love, and where his children were born. When illness extends his stay, his son finds an opportunity to unravel the history of the mysterious man who raised him, following the trail of crab tracks to discover the truth of his father and his country. At last, Nithap’s throat clears and his voice rises, and he drifts back in time to tell his son the story that is burned into his memory and into the land he left behind. He speaks about the civil war that tore Cameroon apart, about the great men who lived and died, about his soldiers, his martyrs, and his great loves. As the tale unfolds, Tanou listens to his father tell the history of his family and the prayer of the blood-soaked land. From New Jersey to Bamileke country, voices mingle, the borders of time dissolve, and generations merge. In A Trail of Crab Tracks, the third part of a magisterial trilogy by Patrice Nganang, the award-winning author creates an epic of war, inheritance, and desire, and of the relentless, essential struggle for freedom.

"I am a dog," the narrator of Patrice Nganang's novel plainly informs us. As such, he has learned not to expect too much from life. He can, however, observe the life around him--in his case the impoverished but dynamic Cameroon of the early 1990s, a time known as "les annees de braise" (the smoldering years). When he isn't limited by the length of his master's leash, the perceptive, even ironic, Mboudjak wanders the streets of Yaounde, a capital city caught in the throes of social and political change. Only partly understanding the words spoken around him (the other dogs are as unreliable as the humans), Mboudjak relates an experience that not only evokes the wildly diverse language of the streets--a heady brew of French, Pidgin English, the indigenous Medumba, and the urban slang Camfranglais--but also reflects the elusiveness of meaning in politically uncertain times. Mboudjak is not alone in his confusion or in his hardship. The blows he receives from humans and the mocking laughter of other dogs are indicative of a larger pattern of abuse that indicts the ruling regime.

Despite its unflinching depiction of a seething, turbulent society, "Dog Days" is not a somber story; it is propelled by the humor that is Mboudjak's greatest survival tool, and even by a certain optimism. In the vibrantly chaotic marketplaces, in the bustling energy of Massa Yo's bar, and in the escalating political demonstrations, a brighter future for Cameroon can be glimpsed. This story told by a canine everyman offers something for any reader interested in freedom withheld and the early stirrings that will someday win it back.

German Colonialism Revisited brings together military historians, art historians, literary scholars, cultural theorists, and linguists to address a range of issues surrounding colonised African, Asian, and Oceanic people's creative reactions to and interactions with German colonialism. This scholarship sheds new light on local power dynamics; agency; and economic, cultural, and social networks that preceded and, as some now argue, ultimately structured German colonial rule. Going beyond issues of resistance, these essays present colonialism as a shared event from which both the colonised and the colonisers emerged changed. They contribute to current debates on transnational and intercultural processes and highlight the ways in which the legacy of the German colonial period is embedded in the global expansion of capitalism, technology, and the Western legal framework.

In Cameroon in 1931, Sara is taken from her family and brought to Mount Pleasant as a gift for Sultan Njoya, the Bamum leader cast into exile by French colonialists, when she is just nine years old. Sara's story takes an unexpected turn when she is recognised by Bertha, the slave in charge of training Njoya's brides, as Nebu, the son she lost tragically years before. In her new life as a boy, she bears witness to the world of Sultan Njoya - a magical yet declining place of artistic and intellectual minds. Seven decades later, a student returns home to Cameroon to research the place it once was, and she finds Sara, silent for decades, ready to tell her story. In her serpentine tale, a lost kingdom lives again in the compromised intersection between flawed memory, tangled fiction, and faintly discernible truth. The award-winning novelist Patrice Nganang's lyrical and majestic Mount Pleasant is a resurrection of the world of early-twentieth-century Cameroon and an elegy for the men and women swept up in the forces of colonisation. For readers of Maaza Mengiste and Taiye Selasi.