The first novel to be translated from Wolof to English, Doomi Golo—The Hidden Notebooks is a masterful work that conveys the story of Nguirane Faye and his attempts to communicate with his grandson before he dies. With a narrative structure that beautifully imitates the movements of a musical piece, Diop relates Faye’s trauma of losing his only son, Assane Tall, which is compounded by his grandson Badou’s migration to an unknown destination. While Faye feels certain that his grandson will return one day, he also is convinced that he will no longer be alive by then. Faye spends his days sitting under a mango tree in the courtyard of his home, reminiscing and observing his surroundings. He speaks to Badou through his seven notebooks, six of which are revealed to the reader, while the seventh, the “Book of Secrets,” is highly confidential and reserved for Badou’s eyes only. In the absence of letters from Badou, the notebooks form the only possible means of communication between the two, carrying within them tunes and repetitions that give this novel its unusual shape: loose and meandering on the one hand, coherent and tightly interwoven on the other. Translated by Vera Wülfing-Leckie and El Hadji Moustapha Diop.

📘 WEEKLY -Doomi Golo Weekly view pages contain enough writing place for your detailed daily planning, appointments and activities. Also, it can help you keeping track of all days with a clear weekly view.

Winner, 2021 African Literature Association First Book Award Should a writer work in a former colonial language or in a vernacular? The language question was one of the great, intractable problems that haunted postcolonial literatures in the twentieth century, but it has since acquired a reputation as a dead end for narrow nationalism. This book returns to the language question from a fresh perspective. Instead of asking whether language matters, The Tongue-Tied Imagination explores how the language question itself came to matter. Focusing on the case of Senegal, Warner investigates the intersection of French and Wolof. Drawing on extensive archival research and an under-studied corpus of novels, poetry, and films in both languages, as well as educational projects and popular periodicals, the book traces the emergence of a politics of language from colonization through independence to the era of neoliberal development. Warner reads the francophone works of well-known authors such as Léopold Senghor, Ousmane Sembène, Mariama Bâ, and Boubacar Boris Diop alongside the more overlooked Wolof-language works with which they are in dialogue. Refusing to see the turn to vernacular languages only as a form of nativism, The Tongue-Tied Imagination argues that the language question opens up a fundamental struggle over the nature and limits of literature itself. Warner reveals how language debates tend to pull in two directions: first, they weave vernacular traditions into the normative patterns of world literature; but second, they create space to imagine how literary culture might be configured otherwise. Drawing on these insights, Warner brilliantly rethinks the terms of world literature and charts a renewed practice of literary comparison.

"[W]hat is true of Rwanda is true in each of us; we all share in Africa." -- L'Harmattan "[This novel] comes closer than have many political scientists or historians to trying to understand why this small country... sank in such appalling violence." -- Radio France International In April of 1994, nearly a million Rwandans were killed in what would prove to be one of the swiftest, most terrifying killing sprees of the 20th century. In Murambi, The Book of Bones, Boubacar Boris Diop comes face to face with the chilling horror and overwhelming sadness of the tragedy. Now, the power of Diop's acclaimed novel is available to English-speaking readers through Fiona Mc Laughlin's crisp translation. The novel recounts the story of a Rwandan history teacher, Cornelius Uvimana, who was living and working in Djibouti at the time of the massacre. He returns to Rwanda to try to comprehend the death of his family and to write a play about the events that took place there. As the novel unfolds, Cornelius begins to understand that it is only our humanity that will save us, and that as a writer, he must bear witness to the atrocities of the genocide. From the novel: "If only by the way people are walking, you can see that tension is mounting by the minute. I can feel it almost physically. Everyone is running or at least hurrying about. I meet more and more passersby who seem to be walking around in circles. There seems to be another light in their eyes. I think of the fathers who have to face the anguished eyes of their children and who can't tell them anything. For them, the country has become an immense trap in the space of just a few hours. Death is on the prowl. They can't even dream of defending themselves. Everything has been meticulously prepared for a long time: the administration, the army, and the [militia] are going to combine forces to kill, if possible, every last one of them."

How can traditions be subversive? The kinship between African traditions and novels has been under debate for the better part of a century, but the conversation has stagnated because of a slowness to question the terms on which it is based: orality vs. writing, tradition vs. modernity, epic vs. novel. These rigid binaries were, in fact, invented by colonialism and cemented by postcolonial identity politics. Thanks to this entrenched paradigm, far too much ink has been poured into the so-called Great Divide between oral and writing societies, and to the long-lamented decline of the ways of old. Given advances in social science and humanities research—studies in folklore, performance, invented traditions, colonial and postcolonial ethnography, history, and pop culture—the moment is right to rewrite this calcified literary history. This book is not another story of subverted traditions, but of subversive ones. West African epics like Sunjata, Samori, and Lat-Dior offer a space from which to think about, and criticize, the issues of today, just as novels in European languages do. Through readings of documented performances and major writers like Yambo Ouologuem and Amadou Hampâté Bâ of Mali, Ahmadou Kourouma of Ivory Coast, and Aminata Sow Fall and Boubacar Boris Diop of Senegal, this book conducts an entirely new analysis of West African oral epic and its relevance to contemporary world literature.

Cartoonists make us laugh—and think—by caricaturing daily events and politics. The essays, interviews, and cartoons presented in this innovative book vividly demonstrate the rich diversity of cartooning across Africa and highlight issues facing its cartoonists today, such as sociopolitical trends, censorship, and use of new technologies. Celebrated African cartoonists including Zapiro of South Africa, Gado of Kenya, and Asukwo of Nigeria join top scholars and a new generation of scholar-cartoonists from the fields of literature, comic studies and fine arts, animation studies, social sciences, and history to take the analysis of African cartooning forward. Taking African Cartoons Seriously presents critical thematic studies to chart new approaches to how African cartoonists trade in fun, irony, and satire. The book brings together the traditional press editorial cartoon with rapidly diverging subgenres of the art in the graphic novel and animation, and applications on social media. Interviews with bold and successful cartoonists provide insights into their work, their humor, and the dilemmas they face. This book will delight and inform readers from all backgrounds, providing a highly readable and visual introduction to key cartoonists and styles, as well as critical engagement with current themes to show where African political cartooning is going and why.

This Handbook provides in one volume rich, comprehensive and rigorous coverage of specific subject areas and thematic concerns in the ever-evolving academic discipline of African philosophy. This Handbook is unique in its focus on central and emerging areas within African philosophy such as Afro-communitarian philosophy, ethics, epistemology, social and political philosophy, existentialism, philosophy of religion, gender philosophy, philosophy of education, phenomenology, transhumanism, African philosophy futures, and philosophy of the non-human. The thirty-two chapters in this Handbook explore the rich textual and non-textual forms of philosophical knowledge in Africa and adequately represent the broad and diverse scope of African philosophy, showing the richness and depth of the philosophical tradition. This reference work is indispensable to students and researchers in African philosophy, comparative philosophy and world philosophies.

Examines the representations of migration in African literature, film, and other visual media, with an eye to the stylistic features of these works as well as their contributions to debates on migration

Arter initiates a new publication series, Arter Background, to accompany group exhibitions drawn from its collection, which holds more than 1,300 works of art as of 2019. This first book of the series accompanies one of the opening exhibitions of Arter’s new building, a collection-based group exhibition entitled What Time Is It?. Curated by Emre Baykal and Eda Berkmen, the exhibition is conceived around the concepts of memory, space and time. In the book, excerpts of texts selected around the ideas active in the curatorial process are complemented by new essays written specifically for this context, in line with Arter’s mission of encouraging artistic and cultural production. It thus features texts on themes associated with houses, everyday objects, personal and collective histories, inside and outside, urban rhythms, architecture, archaeology, borders and migration, and includes commissioned essays by Erdem Ceylan, Deniz Gül, Gökhan Kodalak, and Nil Sakman. While close-up visual excerpts taken from the art works are cited side by side with the texts, the installation views from the exhibition assume their places as the first entries into the memory of Arter’s new space. With contributions by Etel Adnan • Guillaume Apollinaire • Marc Augé • Ingeborg Bachmann • Matsuo Basho • Joe Brainard • Sevim Burak • Erdem Ceylan • Boubacar Boris Diop • Harun Farocki • Hans Ulrich Gumbrecht • Deniz Gül • Nurdan Gürbilek • Christopher F. Hasty • Eric Hattan • Stephen Hawking • Zbigniew Herbert • Cem İleri • Gökhan Kodalak • Milan Kundera • Henri Lefebvre • Édouard Levé • Agustín Fernández Mallo • Jonas Mekas • Georges Perec • Fernando Pessoa • Marcel Proust • Rodrigo Quian Quiroga • Rainer Maria Rilke • Yannis Ritsos • Nil Sakman • Bruno Schulz • W.G. Sebald • Susan Sontag • Wallace Stevens • Stefan Zweig