FOR SALE IN AFRICA ONLY Investigates what literary strategies African writers adopt to convey the impact of climate transformation and environmental change. This special issue examines the ways fiction and poetry engage with environmental consciousness, and how African literary criticism addresses the implications of global environmental transformations. Does environmentalist literature offer new possibilities for critical thinking about the future? What constitutes environmentalist fiction and poetry? What kind of texts, themes and topics does climate writing include? Does any text in which the environment features become available to environmentalist criticism? In their engagement with the diverse genres, themes and frameworks through which contemporary African writers address topics including urbanisation, cross-species communication, nature and climate change, contributors to this special issue help to define African environmental writing. They look at the literary strategies adopted by creative writers to convey the impact of environmental transformationin narratives that are historically informed by a century of colonialism, nationalist political activism, urbanisation and postcolonial migration. How does environmental literature intervene in these histories? Can creative writers, with their powerfully post-human and cross-species imaginations, carry out the ethical work demanded by contemporary climate science? From Tanure Ojaide's and Helon Habila's attention to environmental decimation in the Niger Delta through to Nnedi Okorafor's and Kofi Anyidoho's imaginative cross-species encounters, the special issue asks how literature mediates the specificities of climate change in an era of global capitalism and technological transformation, and what the limits of creative writing and literary criticism are as tools for discussing environmental issues. Guest Editors: Cajetan Iheka (Associate Professor of English, Yale University) and Stephanie Newell (Professor of English, Yale University) Series Editor: Ernest N. Emenyonu (Professor of Africana Studies at the University of Michigan-Flint) Reviews Editor: Obi Nwakanma (Fellow, Department of English University of Central Florida)

Groundbreaking examination of literary production in West African newspapers and local printing presses in the first half of the 20th century, which adds an African perspective to transatlantic Black studies, and shows how African newsprint creativity has shaped readers' ways of imagining subjectivity and society under colonialism. From their inception in the 1880s, African-owned newspapers in 'British West Africa' carried an abundance of creative writing by local authors, largely in English. Yet to date this rich and vast array of work has largely been ignored in critical discussion of African literature and cultural history. This book, for the first time, explores this under-studied archive of ephemeral writing - from serialised fiction to poetry and short stories, philosophical essays, articles on local history, travelogues and reviews, and letters - and argues for its inclusion in literary genres and anglophone world literatures. Combining in-depth case studies of creative writing in the Ghana and Nigeria press with a major reappraisal of the Nigerian pamphlets known as 'Onitsha market literature', and focusing on non-elite authors, the author examines hitherto neglected genres, styles, languages, and, crucially, readerships. She shows how local print cultures permeated African literary production, charting changes in literary tastes and transformations to genres and styles, as they absorbed elements of globally circulating English texts into formats for local consumption. Offering fresh trajectories for thinking about local and transnational African literary networks while remaining attuned to local textual cultures in contexts of colonial power relations, anticolonial nationalism, the Cold War and global circuits of cultural exchange, this important book reveals new insights into ephemeral literature as significant sites of literary production, and contributes to filling a gap in scholarship on colonial West Africa.

Between 1905 and 1939, a conspicuously tall white man with a shock of red hair, dressed in a silk shirt and white linen trousers, could be seen on the streets of Onitsha, in Eastern Nigeria. How was it possible for an unconventional, boy-loving Englishman to gain a social status among the local populace enjoyed by few other Europeans in colonial West Africa? In "The Forger's Tale: The Search for Odeziaku", Stephanie Newell charts the story of the English novelist and poet, John Moray Stuart-Young (1881-1939) as he traveled from the slums of Manchester to West Africa in order to escape the homophobic prejudices of late-Victorian society. Leaving behind a criminal record for forgery and embezzlement and his notoriety as a "spirit rapper," Stuart-Young found a new identity as a wealthy palm oil trader and a celebrated author, known to Nigerians as "Odeziaku." In this fascinating biographical account, Newell draws on queer theory, African gender debates, and "new imperial history" to open up a wider study of imperialism, (homo)sexuality, and nonelite culture between the 1880s and the late 1930s. "The Forger's Tale" pays close attention to different forms of West African cultural production in the colonial period and to public debates about sexuality and ethics, as well as to movements in mainstream English literature.

Investigates what literary strategies African writers adopt to convey the impact of climate transformation and environmental change. This special issue examines the ways fiction and poetry engage with environmental consciousness, and how African literary criticism addresses the implications of global environmental transformations. Does environmentalist literature offer new possibilities for critical thinking about the future? What constitutes environmentalist fiction and poetry? What kind of texts, themes and topics does climate writing include? Does any text in which the environment features become available to environmentalist criticism? In their engagement with the diverse genres, themes and frameworks through which contemporary African writers address topics including urbanisation, cross-species communication, nature and climate change, contributors to this special issue help to define African environmental writing. They look at the literary strategies adopted by creative writers to convey the impact of environmental transformationin narratives that are historically informed by a century of colonialism, nationalist political activism, urbanisation and postcolonial migration. How does environmental literature intervene in these histories? Can creative writers, with their powerfully post-human and cross-species imaginations, carry out the ethical work demanded by contemporary climate science? From Tanure Ojaide's and Helon Habila's attention to environmental decimation in the Niger Delta through to Nnedi Okorafor's and Kofi Anyidoho's imaginative cross-species encounters, the special issue asks how literature mediates the specificities of climate change in an era of global capitalism and technological transformation, and what the limits of creative writing and literary criticism are as tools for discussing environmental issues. This volume also includes a Literary Supplement. Guest Editors: Cajetan Iheka (Associate Professor of English, Yale University) and Stephanie Newell (Professor of English, Yale University) Series Editor: Ernest N. Emenyonu (Professor of Africana Studies at the University of Michigan-Flint) Reviews Editor:Obi Nwakanma (Fellow, Department of English University of Central Florida)

How does our understanding of Africa shift when we begin from the perspective of women? What can the African perspective offer theories of culture and of gender difference? This work, as unique and insightful today as when it was first published, brings together a wide variety of African academics and other researchers to explore the links between literature, popular culture and theories of gender. Beginning with a ground-breaking overview of African gender theory, the book goes on to analyse women's writing, uncovering the ways different writers have approached issues of female creativity and colonial history, as well as the ways in which they have subverted popular stereotypes around African women. The contributors also explore the related gender dynamics of mask performance and oral story-telling. This major analysis of gender in popular and postcolonial cultural production remains essential reading for students and academics in women's studies, cultural studies and literature.

This volume marks the 25th anniversary of Karin Barber's ground-breaking article, "Popular Arts in Africa", which stimulated new debates about African popular culture and its defining categories. Focusing on performances, audiences, social contexts and texts, contributors ask how African popular cultures contribute to the formation of an episteme. With chapters on theater, Nollywood films, blogging, and music and sports discourses, as well as on popular art forms, urban and youth cultures, and gender and sexuality, the book highlights the dynamism and complexity of contemporary popular cultures in sub-Saharan Africa. Focusing on the streets of Africa, especially city streets where different cultures and cultural personalities meet, the book asks how the category of "the people" is identified and interpreted by African culture-producers, politicians, religious leaders, and by "the people" themselves. The book offers a nuanced, strongly historicized perspective in which African popular cultures are regarded as vehicles through which we can document ordinary people's vitality and responsiveness to political and social transformations.

Between 1905 and 1939, a conspicuously tall white man with a shock of red hair, dressed in a silk shirt and white linen trousers, could be seen on the streets of Onitsha, in Eastern Nigeria. How was it possible for an unconventional, boy-loving Englishman to gain a social status among the local populace enjoyed by few other Europeans in colonial West Africa? In ""The Forger's Tale: The Search for Odeziaku"", Stephanie Newell charts the story of the English novelist and poet, John Moray Stuart-Young (1881-1939) as he traveled from the slums of Manchester to West Africa in order to escape the homophobic prejudices of late-Victorian society. Leaving behind a criminal record for forgery and embezzlement and his notoriety as a ""spirit rapper,"" Stuart-Young found a new identity as a wealthy palm oil trader and a celebrated author, known to Nigerians as ""Odeziaku."" In this fascinating biographical account, Newell draws on queer theory, African gender debates, and ""new imperial history"" to open up a wider study of imperialism, (homo)sexuality, and nonelite culture between the 1880s and the late 1930s. ""The Forger's Tale"" pays close attention to different forms of West African cultural production in the colonial period and to public debates about sexuality and ethics, as well as to movements in mainstream English literature.

In Histories of Dirt Stephanie Newell traces the ways in which urban spaces and urban dwellers come to be regarded as dirty, as exemplified in colonial and postcolonial Lagos. Newell conceives dirt as an interpretive category that facilitates moral, sanitary, economic, and aesthetic evaluations of other cultures under the rubric of uncleanliness. She examines a number of texts ranging from newspaper articles by elite Lagosians to colonial travel writing, public health films, and urban planning to show how understandings of dirt came to structure colonial governance. Seeing Lagosians as sources of contagion and dirt, British colonizers used racist ideologies and discourses of dirt to justify racial segregation and public health policies. Newell also explores possibilities for non-Eurocentric methods for identifying African urbanites' own values and opinions by foregrounding the voices of contemporary Lagosians through interviews and focus groups in which their responses to public health issues reflect local aesthetic tastes and values. In excavating the shifting role of dirt in structuring social and political life in Lagos, Newell provides new understandings of colonial and postcolonial urban history in West Africa.

In Histories of Dirt Stephanie Newell traces the ways in which urban spaces and urban dwellers come to be regarded as dirty, as exemplified in colonial and postcolonial Lagos. Newell conceives dirt as an interpretive category that facilitates moral, sanitary, economic, and aesthetic evaluations of other cultures under the rubric of uncleanliness. She examines a number of texts ranging from newspaper articles by elite Lagosians to colonial travel writing, public health films, and urban planning to show how understandings of dirt came to structure colonial governance. Seeing Lagosians as sources of contagion and dirt, British colonizers used racist ideologies and discourses of dirt to justify racial segregation and public health policies. Newell also explores possibilities for non-Eurocentric methods for identifying African urbanites' own values and opinions by foregrounding the voices of contemporary Lagosians through interviews and focus groups in which their responses to public health issues reflect local aesthetic tastes and values. In excavating the shifting role of dirt in structuring social and political life in Lagos, Newell provides new understandings of colonial and postcolonial urban history in West Africa.

West African Literatures provides students with fresh, in-depth perspectives on the key debates in the field. The aim of this book is not to provide an authoritative, encyclopedic account, but to consider a selection of the region's literatures in relation to prevailing discussions about
literature and postcolonialism.

This volume marks the 25th anniversary of Karin Barber's ground-breaking article, "Popular Arts in Africa", which stimulated new debates about African popular culture and its defining categories. Focusing on performances, audiences, social contexts and texts, contributors ask how African popular cultures contribute to the formation of an episteme. With chapters on theater, Nollywood films, blogging, and music and sports discourses, as well as on popular art forms, urban and youth cultures, and gender and sexuality, the book highlights the dynamism and complexity of contemporary popular cultures in sub-Saharan Africa. Focusing on the streets of Africa, especially city streets where different cultures and cultural personalities meet, the book asks how the category of "the people" is identified and interpreted by African culture-producers, politicians, religious leaders, and by "the people" themselves. The book offers a nuanced, strongly historicized perspective in which African popular cultures are regarded as vehicles through which we can document ordinary people's vitality and responsiveness to political and social transformations.

This is a study of the unofficial side of African fiction. Stephanie Newell's book reveals the undocumented writing, publishing and reading of pamphlets and paperbacks which exist outside of mainstream mass-production in Ghana. Gender relations are a dominant theme in the stories which explore and symbolically resolve commonly held pre-occupations about marriage, money and manhood. North America: Ohio U Press

The Oxford Studies in Postcolonial Literatures series (general editor: Elleke Boehmer) offers stimulating and accessible introductions to definitive topics and key genres and regions within the rapidly diversifying field of postcolonial literary studies in English. This study of West African literatures interweaves the analysis of fiction, drama, and poetry with an exploration of the broader political, cultural, and intellectual contexts within which West African writers work. Anglophone literatures form the central focus of the book, with comparative comments on vernacular literature, francophone writing and oral literatures, and detailed discussion of selected francophone texts in translation (e.g., Senghor, Tadjo, Beyala, Ba, Sembene). Moving from a discussion of nationalist and anti-colonial writing in the period before independence, towards the more experimental writings of contemporary authors such as Veronique Tadjo (Ivory Coast), Syl Cheney-Coker (Sierra Leone), and Kojo Laing (Ghana), the book constantly relates texts to the social and political history of West Africa. Canonical, internationally well-known writers such as Chinua Achebe and Wole Soyinka are positioned in relation to the literary cultures and debates which surrounded them when they first produced their seminal texts; the discussions and disagreements which have grown up around their work in subsequent decades are also considered. The work of new and lesser-known writers is also considered, including Niyi Osundare (Nigeria) and Kofi Anyidoho (Ghana). In order to convey a sense of the rich and complex societies that are clustered beneath the umbrella-term 'postcolonial', emphasis is placed on West Africa's diverse oral and popular cultures, and the ways in which local intellectuals and readers have responded to the most prominent authors through the aesthetic frameworks generated by these forms.

* Finalist for the African Studies Association's 2014 Melville J. Herskovits Award for best book in African Studies Between the 1880s and the 1940s, the region known as British West Africa became a dynamic zone of literary creativity and textual experimentation. African-owned newspapers offered local writers numerous opportunities to contribute material for publication, and editors repeatedly defined the press as a vehicle to host public debates rather than simply as an organ to disseminate news or editorial ideology. Literate locals responded with great zeal, and in increasing numbers as the twentieth century progressed, they sent in letters, articles, fiction, and poetry for publication in English- and African-language newspapers. The Power to Name offers a rich cultural history of this phenomenon, examining the wide array of anonymous and pseudonymous writing practices to be found in African-owned newspapers between the 1880s and the 1940s, and the rise of celebrity journalism in the period of anticolonial nationalism. Stephanie Newell has produced an account of colonial West Africa that skillfully shows the ways in which colonized subjects used pseudonyms and anonymity to alter and play with colonial power and constructions of African identity.