The author says DO NOT READ THIS BOOK. unless you want to spend the day laughing out loud while being inspired by Africa and the Peace Corps In 2008, Dr. Doran and his wife made the extraordinary decision to leave the comforts of America to join the United States Peace Corps. Assigned to Africa for two years, they participated in the fight against HIV in Botswana, a country which has the second highest incidence of HIV in the world. On one level, this is an inspiring chronicle of their work together and the joys and challenges of Peace Corps service for the Boomer generation. The book however, is much more than that. Throughout, the author relates the story of a fictional newspaper, the Kalahari Khronicle, of which he is the editor. Taking reports of news items from around the world, Kgosi (Dr. Doran's Botswana name --meaning Chief) consistently entertains the reader with sharp wit and political commentary. Written in a style reminiscent of Dave Barry and Pat Conroy, the Khronicle articles provide clever and at times hilarious observations on both American and African culture.

This book provides the first comprehensive survey and collection of Nigerian diaspora literature, offering readings of novelists such as Chimamanda Ngozi Adichie, Sefi Atta, Helon Habila, Helen Oyeyemi, Taiye Selasi, Chika Unigwe, Chris Abani, and Ike Oguine. As members of the new African diaspora, their literature captures experiences of recent Nigerian migration to the United States and the United Kingdom. Examining representative novels, such as Adichie’s Half of a Yellow Sun and Americanah, Habila’s Waiting for an Angel, Abani’s GraceLand, and Oyeyemi’s The Icarus Girl, the book discusses these novels’ literary and narrative methods and provides detailed analyses of two of the most common themes: depictions of migratory experiences and representations of Nigeria. Placing the novels in their relevant historical, sociological, philosophical, and theoretical contexts, Narrating the New African Diaspora presents an insightful study of current anglophone Nigerian narrative literature.

The enormous success of writers such as Teju Cole and Chimamanda Ngozi Adichie demonstrates that African literatures are now an international phenomenon. But the apparent global legibility of a small number of (mostly Anglophone) writers in the diaspora raises the question of how literary producers from the continent, both past and present, have situated their work in relation to the world and the kinds of material networks to which this corresponds. This collection shows how literatures from across the African continent engage with conceptualizations of 'the world' in relation to local social and political issues. Focusing on a wide variety of geographic, historical and linguistic contexts, the essays in this volume seek answers to the following questions: What are the topographies of 'the world' in different literary texts and traditions? What are that world's limits, boundaries and possibilities? How do literary modes and forms such as realism, narrative poetry or the political essay affect the presentation of worldliness? What are the material networks of circulation that allow African literatures to become world literature? African literatures, it emerges, do important theoretical work that speaks to the very core of world literary studies today.

This handbook provides a critical overview of literature dealing with groups of people or regions that suffer marginalization within Africa. The contributors examine a multiplicity of minority discourses expressed in African literature, including those who are culturally, socially, politically, religiously, economically, and sexually marginalized in literary and artistic creations. Chapters and sections of the book are structured to identify major areas of minority articulation of their condition and strategies deployed against the repression, persecution, oppression, suppression, domination, and tyranny of the majority or dominant group. Bringing together diverse perspectives to give a holistic representation of the African reality, this handbook is an important read for scholars and students of comparative and postcolonial literature and African studies.

African literature has never been more visible than it is today. Whereas Chinua Achebe, Wole Soyinka, and Ngugi wa Thiong'o defined a golden generation of African writers in the 20th century, a new generation of “Afropolitan” writers including Chimamanda Adichie, Teju Cole, Taiye Selasi, and NoViolet Bulawayo have taken the world by storm by snatching up prestigious awards and selling millions of copies of their works. But what is the new, increasingly fashionable and marketable, Afropolitan vision of Africa's place in the world that they offer? How does it differ from that of previous generations? Why do some dissent? Afropolitanism refuses to reinforce images of Africa in world media as merely poor, war-torn, diseased, and constantly falling into chaos. By complicating the image of Africa as a hapless victim, Afropolitanism focuses on the wide-ranging influence Africa has on the world. However, some have characterized this kind of writing as light, populist fare that panders to Western audiences. Afropolitan Literature as World Literature examines the controversy surrounding Afropolitan literature in light of the unprecedented circulation of culture made possible by globalization, and ultimately argues for expanding its geographic and temporal boundaries.

This book references correlations, parities, differences, and possible solutions of some of lifes new and emerging challenges. Political connotations are just a metaphor and auspices of destined profound, moral indignations. Realizing in this life, no one, but no one, has all the definitive answers to any or all-real world solutions, except for personal and collective opinions that we experience every day. This writer being a pragmatist, innovator, scientist and commentator conveys researched concepts of opinions of personal & collective edifications, coupled with amusing personal and informative skits.

Available Open Access under CC-BY-NC-ND licence Women are at the heart of civil society organisations. Through them they have achieved many successes, challenged oppressive practices at a local and global level and have developed outstanding entrepreneurial activities. Yet Civil Service Organisation (CSO) research tends to ignore considerations of gender and the rich history of activist feminist organisations is rarely examined. This collection examines the nexus between the emancipation of women, and their role(s) in these organisations. Featuring contrasting studies from a wide range of contributors from different parts of the world, it covers emerging issues such as the role of social media in organising, the significance of religion in many cultural contexts, activism in Eastern Europe and the impact of environmental degradation on women’s lives. Asking whether involvement in CSOs offers a potential source of emancipation for women or maintains the status quo, this anthology will also have an impact on policy and practice in relation to equal opportunities.

Everything Is Sampled examines the shifting modes of production and circulation of African artistic forms since the 1980s, focusing on digital culture as the most currently decisive setting for these changes. Drawing on works of cinema, literature, music, and visual art, Akin Adekan. addresses two main questions. First, given the various changes that the institutions producing African arts and letters have undergone in the past four decades, how have the representational impulses in these forms fared in comparison with those at work in pervasively digital cultures? Second, how might a long view of these artistic forms across media and in different settings affect our understanding of what counts as art, as text, as authorship? Immersed in digital culture, African artists today are acutely aware of the media-saturated circumstances in which they work and actively bridge them by making ethical choices to shape those circumstances. Through an innovative development and analysis of five modes of creative practice--curation, composition, adaptation, platform, and remix--Everything Is Sampled offers an absorbingly complex yet nuanced approach to appreciating the work of several generations of African writers, directors, and artists. No longer content to just fill a spot in the relay between the conception and distribution of a work, these artists are now also quick to view and reconfigure their works through different modes of creative practice.

The first book-length study of Nairobi-based female filmmakers—and how their dogged pursuit of opportunities, innovation, and cultural support is defining an industry. Nairobi, the capital of Kenya, is home to something extraordinary and unlikely: in this city, the most critically acclaimed filmmakers—both directors and producers—are women. Yet, across the globe, women make up less than 10 percent of film directors. In Creative Hustling, Robin Steedman takes a closer look at these remarkable women filmmakers, viewing them not only as auteurs, but also as entrepreneurs, who are taking the lead in creating a vibrant, and atypical, screen media industry. To understand their achievement, Steedman theorizes hustling as not only a practice born out of necessity but also an inventive labor in its own right—one that can create new spaces of community by carving new entrepreneurial pathways. Through original empirical field research gathered over eight months in Nairobi, Steedman describes how female filmmakers go about trying to create their films, as well as the challenges they face in distributing those films in their local market. Along the way, she traces the history of the industry over the last fifteen years, the lack of state support for these filmmakers’ undertakings, the low social standing of the profession, and the transnational conflicts that arise when Euro-American funding is at the heart of Kenyan cinema. Creative Hustling is a major contribution to the task of de-Westernizing media industry studies, imparting important lessons about what it takes to create and distribute creative work in a global age increasingly marked by uncertain work.

Three little known facts: Africa is now the world's fastest growing continent, with average GDP growth of 5.5% the past 10 years. Malaria deaths have declined by 30% and HIV infections by 74%. Nigeria produces more movies than America does. The Lion Awakes is the true story of today's Africa, one often overshadowed by the dire headlines. Traveling from his ancestral home in Uganda, East Africa, to the booming economy and (if chaotic) new democracies of West Africa, and down to the "Silicon Savannahs" of Kenya and Rwanda, Ashish J. Thakkar shows us an Africa that few Westerners are aware exists. Far from being a place in need of our pity and aid, we see a continent undergoing a remarkable transformation and economic development. We meet a new generation of ambitious, tech savvy young Africans who are developing everything from bamboo bicycles to iPhone Apps; we meet artists, film makers and architects thriving with newfound freedom and opportunity, and we are introduced to hyper-educated members of the Diaspora who have returned to Africa after years abroad to open companies and take up positions in government. They all tell the same story: 21st Century Africa offers them more opportunity than the First World. Drawing from his business experience, and his own family's history in Africa, which include his parents' expulsion from Uganda by Idi Amin in the 70s and his own survival of the Rwandan genocide in 1994, Ashish shows us how much difference a decade can make.