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Leonard Bi Tirga, son of a poor peasant, is a studious pupil. Due to shortage of finances, he has to leave school to make ends meet and pursue his studies. Leonard becomes a sweatshop labourer. As a young labourer, his life like that of his peers is hard. The pay rate is low and the work is hard. With his friends, they engage in trade union activism. A series of complicated and trying events reinforces their conviction to militate. Thus, Leonard and his friend Camille become Union leaders. Leonardís character trait and uprightness explains the book title, Bi Tirga. In the Moore language, this means a well educated, honest, hardworking, courageous and well-behaved youth.
Mapping Transactional Inroads
How can African theology survive the self-repetition of mere cultural apologia or contextualization-stereotypes, and mature into a critical theoretical discipline responding to the challenges of the postmodern world-order? Dr. Humphrey M. Wawe contributes here a sound theological reflection using the hitherto unused methodological paradigm of mapping the inroads in the ìtransactionî between the Bible and African culture.
An Introduction for African Universities
This book introduces the study of Biblical studies, theology, religion and philosophy from an African perspective. The book comprises twenty six chapters divided into four sections. The first section deals with Biblical studies, the second with theology, the third with religion and the fourth with philosophy. The contributions are from 20 eminent scholars from African and Caribbean universities.
In this collection of poems Nsah Mala casts a critical compassionate gaze at the predicaments in the lives of present day Cameroonians. The poet lambasts power abuse in Cameroon and Africa. He decries the lost glory of traditional values sacrificed at the altar of ingratiation and materialism. Insalubrities are condemned, ignorance and its ramifications satirised, and wanton destruction of the environment indicted. With a fascinating richness of imagery, Mala conveys the disillusionment, bitterness and traumas of ordinary Cameroonians - young and old - debased with impunity by the lethal and sterile grip on power of the high and mighty. The moral depravity and human frailties mused about in this exceptionally compelling collection have no room in Mala's paradise of Cameroon.
In Black Caps and Red Feathers the reader is taken into Creatureís subconscious on the garbage heap where he is tenant, and where he recounts his multitudinous and gruesome experiences in Traourouís underground prisons. Ancestral Earth, set within a traditional African background, indicts Akeumbin, the king and custodian of the earth of Allehtendurih, who is caught in the dilemma of stopping a plague caused by the reckless exploitation of the earth and showing affection for his fiftieth bride. In compliance with the Princes of Earth, the women who are the principal victims, bring pressure to bear on the King who condescends to the urgency of appeasing the Ancestral Earth. The common denominator in both plays is communal grudge against irresponsible leadership and its fallouts of indiscriminate victimization that allow for the anticipation of a new or renewed consciousness.
Tardif is the son of a medical practitioner, an herbalist and a spiritual healer in northwestern Cameroun. When his father eventually gives up his practice, his mother struggles to put him and four of his sisters through high school. But financing university is a challenge. Tardif works for seven years in the farms and as a school teacher and seeks help from all quarters of the globe to try to raise money for university in his home country. Then one day he finds himself in China ñ studying Chinese medicine ñ and hoping for a better life than the one he had in Cameroon. The predicaments are as challenging as they are profoundly instructive. Tardif poses as a Dutchman and as an American to get jobs teaching English and survive in his host country. He ends up earning the respect of his students and employers, but not without everyday encounters with precarity. Just as one problem is resolved, another always seems to be brewing on the horizon. Tardif autobiographically opens his adventures, his transformations and his musings on Chinese and African ways of thinking and living to those interested in intercultural mobility and learning about life. His story reads like a dairy and keeps one wondering what will happen next.
Cameroon in Black and White
Bill NDIís Bleeding Red: Cameroon in Black and White is another masterpiece from a poet with a deeply political vision. This collection of poems with Cameroon as the particular focal point is a paragon of socio-political and cultural alertness in verse that will get every reader on their toes. Bill NDIís world is fraught with topsy-turvydom. It is a world darkened by experience and a keen sense of the wrongs plaguing his beloved country. He points out, without preaching, where it all went wrong, how it can, or what it will take to, be redeemed. The acerbity of Bill NDIís criticism runs from the very first poem of the collection ëAnthem for Essingangí through ëThe Promiseí to the very last one ëPapa Ngando Yi Mimba for Cameluní. What a clime characterised by a ìclan of mbokos, clan of banditsî! It is just natural that as they perpetrate ìdeath and sadnessî in his beloved fatherland, nothing but ìdisgraceî, ìgreat shameî, and ìrepudiationî awaits them for evermore.
Bless Me Father is the true story of an incredible South African life. Born into a violent and broken family, and growing up in a variety of institutions, Cape Town based poet and writer Mario d'Offizi tells his remarkable, often shocking and ultimately inspiring life adventure - one that spans several decades in a country undergoing radical change. From his tough days at Boys Town to wild years in the advertising world, a stint in the restaurant business and a sharp edged journalistic adventure in the DRC, d'Offizi tells his critically acclaimed story with the unfailing sensitivity and warmth of a true poet.
Fatti Ashi died. Startling her family and community, she comes back to life just a few hours after dying. Blessing chronicles the life of this Fatti Ashi, a young village girl who from the moment she rejoins the land of the living is faced with both obstacles and opportunities consistent with an attempted mergence of two worlds. From a child who is molded with her fatherís advice to merge ancestral skull worship and Christianity to an underprivileged teenager who falls in love with the alphabet and finally becoming a woman who desires emotional and financial independence, Fatti Ashiís life yields misunderstandings and isolation. As a child in the village, her life is a battleground for family rivalry and religious conflict. As a teenage wife in the city, she befriends a sex worker who encourages her to bring meaning into her life rather than simply living to the dictates of others. She takes up the challenge by embarking on adult education and becoming a breadwinner but is taken aback when her husband requests a divorce. In a search for solutions to save her marriage, she entertains traditional religion, Catholicism and Pentecostalism. Disappointment and desperation lead her to take a deeper look at the situation. Is she to stay married simply for convenience? Is she to continue following religious paths laid out by others, clearly not as beneficial to her? Is she to please society to her detriment? The long journey of self-discovery takes her through scandal and humiliation but in the end, she emerges as a confident, admired and happy woman.
Chris Anyokwu�s new creative offerings are snapshots of a the quotidian reality in the playwrights homeland, Nigeria, where polygamy and its associated evils, crass materialism and its classless followers still predominate. Even the ivory towers are not left out as petty rivalry, dirty politics and even fetishism seem to be the name of the game.