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The Tragedy of Immigration
African Drama and Performance is a collection of innovative and wide-ranging essays that bring conceptually fresh perspectives, from both renowned and emerging voices, to the study of drama, theatre, and performance in Africa. Topics range from studies of major dramatic authors and formal literary dramas to improvisational theatre and popular video films. South Africa's Truth and Reconciliation Commissions are analyzed as a kind of social performance, and aspects of African performance in the diaspora are also considered. This dynamic volume underscores theatre's role in postcolonial society and politics and reexamines performance as a form of high art and everyday social ritual.
Contributors are Akin Adesokan, Daniel Avorgbedor, Karin Barber, Nicholas Brown, Catherine Cole, John Conteh-Morgan, Johannes Fabian, Joachim Fiebach, Marie-José Hourantier, Loren Kruger, Pius Ngandu Nkashama, Isidore Okpewho, Tejumola Olaniyan, Ato Quayson, Sandra L. Richards, Wole Soyinka, Dominic Thomas, and Bob W. White.
The latest work from Harold Scheub, one of the world's leading scholars of African folktales, is the broadest collection yet assembled with tales from the entire continent of Africa, north to south. It brings together mythic, fantastic, and coming-of-age tales, some transcribed more than a hundred years ago, others dating to modern-day Africa. Scheub includes the work of storytellers from major African language groups, as well as many storytellers whose work is not often heard outside of Africa. This anthology offers a classroom-ready collection that should appeal to any scholar of African literature and culture. Realizing that these tales are part of a dying art, Scheub writes for the inner ear in everyone, bringing an oral tradition to life in written form.
An Anthology of Contemporary Voices
Bafana Kuzwayo is a young man with a weight on his shoulders. After flunking his law studies at the University of Cape Town, he returns home to Soweto, where he must decide how to break the news to his family. But before he can confess, he is greeted as a hero by family and friends. His uncle calls him “Advo,” short for Advocate, and his mother wastes no time recruiting him to solve their legal problems. In a community that thrives on imagined realities, Bafana decides that it’s easiest to create a lie that allows him to put off the truth indefinitely. Soon he’s in business with Yomi, a Nigerian friend who promises to help him solve all his problems by purchasing a fake graduation document. One lie leads to another as Bafana navigates through a world that readers will find both funny and grim.
The Diary of a Decadent
Lost in a shipwreck in 1895, rewritten before the author's suicide in 1896, and not published until 1925, José Asunción Silva's After-Dinner Conversation (De sobremesa) is one of Latin America's finest fin de siècle novels and the first one to be translated into English. Perhaps the single best work for understanding turn-of-the-twentieth-century writing in South America, After-Dinner Conversation is also cited as the continent's first psychological novel and an outstanding example of modernista fiction and the Decadent sensibility. Semi-autobiographical and more important for style than plot, After-Dinner Conversation is the diary of a Decadent sensation-collector in exile in Paris who undertakes a quest to find his beloved Helen, a vision whom his fevered imagination sees as his salvation. Along the way, he struggles with irreconcilable urges and temptations that pull him in every direction while he endures an environment indifferent or hostile to spiritual and intellectual pursuits, as did the modernista writers themselves. Kelly Washbourne's excellent translation preserves Silva's lush prose and experimental style. In the introduction, one of the most wide-ranging in Silva criticism, Washbourne places the life and work of Silva in their literary and historical contexts, including an extended discussion of how After-Dinner Conversation fits within Spanish American modernismo and the Decadent movement. Washbourne's perceptive comments and notes also make the novel accessible to general readers, who will find the work surprisingly fresh more than a century after its composition.
“Dense with narrative details of a transnational life, these poems are suffused with a peculiarly Indian synesthesia—’the air thick enough to bite, rinsing/ fingertips with color.’ Vandana Khanna, in her second prize-winning book, gives us a series of panoramic spectacles—children watching horror films in Delhi, Merle Oberon on her latest Bollywood film role, stolen lemons wrapped in yesterday’s newspaper. Colors and crime collide with the likes of Garbo and Rekha in this tender and smart collection of poems.” —Kazim Ali, author of Sky Ward and Bright Felon Vandana Khanna is an instructor at the University of Southern California and the author of Train to Agra. She is the 2013 winner of the Elinor Benedict Poetry Prize.
Selected Poems, 1934-1994
For over half a century, David Ignatow has crafted spare, plain, haunting poetry pf working life, urban images, and dark humor. The poetic heir of Whitman and William Carlos Williams, Ignatow is characteristically concerned with human mortality and human alienation in the world: the world as it is, defined by suffering and despair, yet at crucial times redeemed by cosmic vision and shared lives. His development as a poet is chronicled in Against the Evidence, title of the poem in part quoted above and meant by Ignatow as the metaphor for the whole body of his work.
Where his previous collections have been organized thematically, Ignatow here arranges his poems "according to the decade in which they were written...returning each to its chronological order." Against the Evidence charts the evolution of his themes from the earliest origin in the Thirties to their present extraordinary manifestation in a variety of poetic forms and modes.