In his study of the origins of political reflection in twentieth-century African fiction, Donald Wehrs examines a neglected but important body of African texts written in colonial (English and French) and indigenous (Hausa and Yoruba) languages. He explores pioneering narrative representations of pre-colonial African history and society in seven texts: Casely Hayford's Ethiopia Unbound (1911), Alhaji Sir Abubaker Tafawa Balewa's Shaihu Umar (1934), Paul Hazoumé's Doguicimi (1938), D.O. Fagunwa's Forest of a Thousand Daemons (1938), Amos Tutuola's The Palm-Wine Drinkard (1952) and My Life in the Bush of Ghosts (1954), and Chinua Achebe's Things Fall Apart (1958). Wehrs highlights the role of pre-colonial political economies and articulations of state power on colonial-era considerations of ethical and political issues, and is attentive to the gendered implications of texts and authorial choices. By positioning Things Fall Apart as the culmination of a tradition, rather than as its inaugural work, he also reconfigures how we think of African fiction. His book supplements recent work on the importance of indigenous contexts and discourses in situating colonial-era narratives and will inspire fresh methodological strategies for studying the continent from a multiplicity of perspectives.

In his study of the origins of political reflection in twentieth-century African fiction, Donald Wehrs examines a neglected but important body of African texts written in colonial (English and French) and indigenous (Hausa and Yoruba) languages. He explores pioneering narrative representations of pre-colonial African history and society in seven texts: Casely Hayford's Ethiopia Unbound (1911), Alhaji Sir Abubaker Tafawa Balewa's Shaihu Umar (1934), Paul Hazoumé's Doguicimi (1938), D.O. Fagunwa's Forest of a Thousand Daemons (1938), Amos Tutuola's The Palm-Wine Drinkard (1952) and My Life in the Bush of Ghosts (1954), and Chinua Achebe's Things Fall Apart (1958). Wehrs highlights the role of pre-colonial political economies and articulations of state power on colonial-era considerations of ethical and political issues, and is attentive to the gendered implications of texts and authorial choices. By positioning Things Fall Apart as the culmination of a tradition, rather than as its inaugural work, he also reconfigures how we think of African fiction. His book supplements recent work on the importance of indigenous contexts and discourses in situating colonial-era narratives and will inspire fresh methodological strategies for studying the continent from a multiplicity of perspectives.

Although a staunch supporter of French colonialism, Paul Hazoume's narrative captures the customs and traditions of Dahomey. This novel, set in the first half of the 19th century, depicts a pattern of war, slave trade and human sacrifice - practices that earned Dahomey a reputation for brutality.

"This book examines the global picture of victimization and the culture of crime control and prevention"--

Provocative, moving, and rich in craft, the stories gathered here represent some of the most original emerging writers in the world. The selected, groundbreaking stories carry on the almost thirty-year tradition of the Commonwealth Writers' Prizes, past winners of which include Jhumpa Lahiri. Zadie Smith, Alice Munro, and Chimamanda Ngozi Adichie.

Intended for those interested in the African continent and the diversity of human history, this work looks at Africa's past and reflects on the changing ways it has been imagined and represented. It illustrates key themes in modern thinking about Africa's history with a range of historical examples.

This is a survey of pre-colonial West Africa, written by the internationally respected author and journalist, Basil Davidson. He takes as his starting point his successful textA History of West Africa 1000-1800, but he has reworked his new text specially for a wider international readership. In the process he offers a fascinating introduction to the rich societies and cultures of Africa before the coming of the Europeans.

In this collection of essays written from different critical perspectives, African playwrights demonstrate through their art that they are not only witnesses, but also consciences, of their societies.