This book is the celebration of one man's vendetta against a cancerous regime that thrives on the rape of democracy and human rights abuses. Lapiro de Mbanga, born Lambo Sandjo Pierre Roger on April 7, 1957 was a conduit for social change. He fought for change in his homeland and died fighting for change in Cameroon. Lapiro believed in the innate goodness of man but also had the conviction that absolute power corrupts absolutely. He was noted for contending that "power creates monsters." His entire musical career was devoted to fighting the cause of the downtrodden in Cameroon. He composed satirical songs on the socio-economic dysphonia in his beleaguered country. In his songs, he articulated the daily travails of the man in the street and the government-orchestrated injustices he witnessed. As a songwriter, Lapiro de Mbanga distinguished himself from his peers through bravado, valiance and the courage to say overtly what many a Cameroonian musician would only mumble in the privacy of their homes. Lapiro's anti-establishment music led to his arrest and imprisonment in September 2009 for three years. Released from prison on April 8, 2011 he was later given political asylum by the USA. On September 2, 2012 Lapiro relocated with some members of his family to Buffalo in New York where he died on March 16, 2014 after an illness. His revolutionary music and fighting spirit live on.

"A Nation at Risk: A Personal Narrative of the Cameroonian Crisis" should be construed as a requiem for what used to be known as the Republic of Cameroon. The overriding objective of this book is to shine the searchlight on the dysfunctional government of Cameroon under President Paul Biya, a minuscule man and matching mind, endowed with a gargantuan ego. Those who wish to comprehend the apocalypse toward which the Cameroonian nation has been propelled by the rogue government of Mr. Biya would do well to study the minds of the men at the helm. Mr. Biya and his henchmen enjoy playing at and for power. The politics of power is for them an act of intellectual masturbation. Even the diabolism inherent in the phenomenon of power is something they relish.

"In Nation at Risk, Peter Wuteh Vakunta, a prolific writer in his own right, has successfully pieced together a compelling narrative of the many facets of the crisis that has plagued Cameroon during the more than three-decade presidency of Mr. Paul Biya. Lucid and captivating, this landmark volume provides a seminal contribution to readers' appreciation of the social, political, economic and cultural events that have shaped Cameroon's history from the time of independence from colonial masters to date. Vakunta's penetrating analysis of the lackluster governmental modus operandi of President Biya is a must read for all Cameroonians and friends of Cameroon who feel deeply about the future of this often forgotten African nation."
-Dr. Peter Ngwafu Ajongwa, Associate Professor

This poetry collection, appropriately dedicated "in derision of all the cloned dictators in Africa," is marked by the acerbic irony of the "macabre poet" on various themes emphasizing Africa's dilemma past and present. The titles tell the whole story, from the confusion and contradictions of "The Rabble," idiots called leaders claiming to liberate the people from mental slavery when they, pseudoleaders, are begging for a re-colonization, to "Predators" and "Dogs of War" with people being their own worst enemies. In the midst of such tragedy, the poet finds consolation in the action of a few "Unsung Heroes" standing up to the messengers of national deconstruction and destruction. Such "Martyrdom," avers the poet, will need to be replicated many times over if Cameroon, his besieged country, and its macrocosmic representation, Africa, are to stand a chance of escaping from "Apocalypse." The style here is innovative, as the poet weaves languages, colonial and national, into historical analysis in mocking "patriotic" robbers hailing the superstitious and omnipresent pere de la nation.

-Femi Ojo-Ade, Professor Emeritus, St. Mary's College of Maryland, USA

Ntarikon is a non-poem that speaks to everyone and to no-one. Throughout life, from the cradle to the grave, we store information culled from our personal experiences; from the experiences of others, and try in some way to make sense of it all. When we are not able to make sense of the things that occur in our lives, we often externalize the information through writing. By doing this, we are afforded a different perspective, thus allowing us to think more clearly about the things that have happened in our lives. Poetry is one of the ways in which I externalize my thoughts. Versification is arguably a passionate art form. It has provided me with an outlet for exploring my innermost thoughts and emotions. Poetry allows me to communicate issues that I might not be able otherwise to openly discuss. It affords me the opportunity to re-evaluate myself, my relationship with others, my station in life, and the world around me. Poetry can be therapeutic, allowing us to work through issues in our lives to find solutions, clarity, comfort, and peace of mind. It provides a vehicle of expression for diverse attitudes and fresh insights. The poetry within Ntarikon is from every point on the spectrum: every topic, every intention, every event or emotion imaginable. It is important to keep in mind that each verse in the poem is the voice of the poet; a piece of a mind that yearns to bring sanity to a world gone topsy turvy, of a heart that feels the effects of every moment in this life, and perhaps of a memory that is striving to surface. Recalling our yesterdays gives birth to our tomorrows.

A sinister form of oppression, linguistic oppression, is the key ingredient in this rich collection of poems written in both the English and the French languages. Highly charged with political overtones, this anthology awakens the conscience of a society in lethargy, one in which even those who lay claim to superiority display gross incompetence in the management of state and societal affairs. Vakunta raises a strong voice against the wanton abuse of the constitutional provision that protects the Cameroon's official bilingual policy. This collection makes a forceful case that official bilingualism is not a pipe-dream, but rather a powerful modus operandi with the potential to ease a myriad of socio-political bottlenecks. It is hoped that this bilingual anthology of poems would provide useful instructional material for educators and serve as an eye-opener to Cameroon's leadership and role-players.

No Love Lost is a tale of troubled times in which the storyteller strives to return to wholesomeness a society whose values have jumped the rail. Set in the 'No Man's Land' of Ongola, the novel unravels the corruption and influence-peddling endemic in this African country. Framed around the travails of an unemployed university graduate, the story is the gripping depiction of one man's vendetta against a society at odds with itself. Among others, the novel explores the themes of identity crisis, political gerrymandering, individual and collective greed, love and marriage, and class exploitation to weave an enduring tapestry of great human interest. Written against the backdrop of nascent neo-colonialism No Love Lost combines the traditional and the modern; the private and the public to demonstrate that the quest for truth and justice behooves all and sundry. The author infuses the narrative with oral traditions to capture the reader's attention in a compelling style. This is a refreshing work by a writer whose heart throbs for his people and their plight.

Cry My Beloved Africa is a compendium of essays having as locus the continent of Africa. It comprises insightful observations on the politics, governmental systems, political economy, cultural practices, educational systems and natural phenomena that impact the lives of Africans. True to the tradition of French novelist Stendhal, the author intends this work to serve as a mirror that reflects the day-to-day living of the different peoples that inhabit the fifty-three odd nation-states in Africa. Hopefully, it would serve as a useful pointer not only to the goings-on in contemporary Africa but also to the relationship between Africa and the rest of the globe. The didactic value of the book resides in its suitability to the young and the old. The language is clear and free of sophistry. College and university students with an interest in African politics, history, culture, anthropology and economy should find this collection a priceless research tool.

Pidgin English is the chief medium of communication for the great majority of Cameroonians. It sustains a world view, culture and way of life. Pidgin embodies concepts that would at best be partially expressed in formal English. A critical understanding of Pidgin English requires not only a thorough grasp of the socio-cultural matrix from which the words and expressions originate but also an immersion in an Afro-centric worldview. Majunga Tok: Poems in Pidgin English is the poet's attempt at capturing these speech patterns of ordinary Cameroonians in written form. Pidgin English, also called broken English, is a lingua franca spoken not only in Cameroon but also in many West African countries, including Nigeria, Ghana, Sierra Leone and Liberia amonst others. This poetry anthology is inspired by the poet's desire to salvage a language that has been subjected to multiple forms of denigration because it is oral. In Cameroon, for instance, Pidgin English has been the target of myriad attacks from self-styled linguistic purists who claim that Pidgin is a bastardized variant of Standard English and, therefore, should not be allowed to thrive. The controversy and denigration directed at Amos Tutuola and his Pidgin English creative genius are vivid examples. This condescending attitude of speakers of Standard English stems from the fact that Pidgin is often associated with illiteracy.

Grassfields Stories from Cameroon is an anthology of short stories. It comprises animal trickster tales, bird survival tales, and human-interest stories. The compendium is a reflection of the mores, cultures, and value systems of the indigenous peoples of the Northwest Province of Cameroon. It is motivated by the author's keen interest in the preservation of Cameroonian oral traditions in written form. These stories deal with the day-to-day life of the sedentary and the globe-trotter. Each story is sufficient onto itself. The author has intentionally avoided chronology in the order of presentation of the stories. Whether you read the stories in the order in which they are presented or dart about as your fancy dictates, you will feel the abundance of richness and entertainment the book contains. The didactic value of this collection of short stories resides in its suitability to readers of all age groups. The uniqueness of the volume lies in its universal appeal. Peter Wuteh Vakunta was born and raised in the village of Bamunka-Ndop in Cameroon where he worked as senior translator at the Presidency of the Republic before immigrating to America. He is an alumnus of Sacred Heart College-Mankon. Vakunta obtained his Bachelor degrees in Cameroon and Nigeria; MA and MSE degrees in Cameroon and the U.S.A. At present, Vakunta and his family live in Madison, U.S.A. He teaches in the Department of French and Italian at the University of Wisconsin-Madison where he is also completing his PhD dissertation titled: Translation in Literature: Indigenization in the Francophone Text. Vakunta is poet, storyteller and essayist. His published works include Better English: Mind Your P's and Q's, Lion Man and Other Stories (short stories), Brainwaves (poems), Pandora's Box (poems). African Time and Pidgin Verses (poems), Square Pegs in Round Holes (essays) and It Takes Guts (essays). Vakunta's literary works have earned him several awards in the U.S.A, U.K and Africa.

The poems in this collection are a mirror reflecting the goings-on in the nooks and crannies of the Republic of Cameroon. Crafted in the lingo of the man in the street, these poems speak for the voiceless in Cameroon, for all those who live on the fringe of a rich Cameroonian society. The themes broached are numerous, namely the culture of impunity, the vicious cycle of corruption, abuse of power, influence peddling, rape of the constitution, electoral gerrymandering, and the ineptitude of national bourgeoisie to name but a few. In sum, Speak camfranglais pour un renouveau ongolais is a clarion call for a new deal in Cameroon.

The forces of nature warranted that these two English speaking poets, linguists, translators cum academics and researchers be born in Ndop, Ngoketunjia Division, in the North West Region of Cameroon. The one is based in the USA and other in Australia. Disgusted by the rotten political clime in their country as well as the political stance of politician vis--vis the English speaking minority, these two poets in their poetry explore the ins and outs of the problems of existence, not only of the minority English speaking Cameroonian but those of minorities in a modern world with a push for globalization. To them art is not only a weapon for survival but one for resistance.