African literatureAfrican literatureisliteratureof and fromAfricaand includesoral literature(or "orature", in the term coined by Ugandan scholarPio Zirimu). As George Joseph notes in his chapter on African literature inUnderstanding Contemporary Africa, whereas European views of literature often stressed a separation of art and content, African awareness is inclusive:"Literature" can also imply an artistic use of words for the sake of art alone. ...traditionally, Africans do not radically separate art from teaching. Rather than write or sing for beauty in itself, African writers, taking their cue from oral literature, use beauty to help communicate important truths and information to society. Indeed, an object is considered beautiful because of the truths it reveals and the communities it helps to build. Oral literatureOral literature (ororature) may be in prose or verse. The prose is often mythological or historical and can include tales of thetrickstercharacter. Storytellers in Africa sometimes usecall-and-responsetechniques to tell their stories. Poetry, often sung, includes:narrative epic,occupational verse, ritual verse,praise poemsto rulers and other prominent people. Praise singers, bards sometimes known as "griots", tell their stories with music.Also recited, often sung, arelove songs,work songs,children's songs, along withepigrams,proverbsandriddles. A revised edition of Ruth Finnegan's classicOral Literature in Africawas released by the Cambridge-basedOpen Book Publishersin September 2012. Oral literatures have flourished in Africa for many centuries and take a variety of forms including, in addition to the folk tales found in this lesson, myths, epics, funeral dirges, praise poems, and proverbs. Myths, according to Oyekan Owomoyela, usually "explain the interrelationships of all things that exist, and provide for the group and its members a necessary sense of their place in relation to their environment and the forces that order events on earth" (2). Epics are elaborate literary forms, usually performed only by experts on special occasions. They often recount the heroic exploits of ancestors. Examples of epics include the Mwindo epic and the epic of Sundjiata. Versions of both of these epics have been transcribed and published in book form and may be available through public or university libraries. Dirges, chanted during funeral ceremonies, lament the departed, praise his/her memory, and ask for his/her protection. Praise poems are "epithets called out in reference to an object (a person, a town, an animal, a disease, and so on) in celebration of its outstanding qualities and achievements" (Owomoyela 14). Praise poems have a variety of applications and functions. Professional groups often create poems exclusive to them. Prominent chiefs might appoint a professional performer to compile their praise poems and perform them on special occasions. Professional performers of praise poems might also travel from place to place and perform for families or individuals for alms or a small fee. The following is quoted from a praise poem to Shaka, the Zulu warrior and king:Shaka went and erected temporary hutsBetween the Nsuze and the Thukela,In the country of Nyanya son of Manzawane;He ate up Mantondo son of Tazi,He felt him tasteless and spat him out,He devoured Sihayo.He who came dancing on the hillside of the Phuthiles,And he overcame Msikazi among the Ndimoshes.He met a long line of hah-de-dahs [ibis birds]When he was going to destroy the foolish Pondos;Shaka did not raid herds of cattle,He raided herds of buck. (qtd. in Owomoyela 15)Most well known of the African oral forms is probably the proverb, a short witty or ironic statement, metaphorical in its formulation, that aims to communicate a response to a particular situation, to offer advice, or to be persuasive. The proverb is often employed as a rhetorical device, presenting its speaker as the holder of cultural knowledge or authority. Yet, as much as the proverb looks back to an African culture as its origin and source of authority, it creates that African culture each time it is spoken and used to make sense of immediate problems and occasions.One final point: oral literary forms must not be conceptualized as simply pre-colonial, ancient, or traditional. Oral literary forms, such as folktales and praise-songs, flourish in contemporary Africa. For example, performances of oral tales are featured on radio, television, and in films. Oral literatures are performed and created by women and men, and many African written literary expressions incorporate the forms and tropes of oral literatures.Precolonial literatureExamples ofpre-colonialAfrican literature are numerous. Oral literature of west Africa includes the "Epic of Sundiata" composed in medievalMali, and the older "Epic of Dinga" from the oldGhana Empire. InEthiopia, there is a substantial literature written inGe'ezgoing back at least to the 4th century AD; the best-known work in this tradition is theKebra Negast, or "Book of Kings." One popular form of traditional African folktale is the "trickster" story, where a small animal uses its wits to survive encounters with larger creatures. Examples of animal tricksters includeAnansi, aspiderin the folklore of theAshantipeople ofGhana;Ijp, atortoiseinYorubafolklore ofNigeria; andSungura, aharefound in central and East African folklore.Other works in written form are abundant, namely in north Africa, theSahelregions of west Africa and on theSwahili coast. FromTimbuktualone, there are an estimated 300,000 or more manuscripts tucked away in various libraries and private collections,mostly written inArabicbut some in the native languages (namelyFulaandSonghai).[7]Many were written at the famousUniversity of Timbuktu. The material covers a wide array of topics, including Astronomy, Poetry, Law, History, Faith, Politics, and Philosophy among other subjects.]Swahili literaturesimilarly, draws inspiration from Islamic teachings but developed under indigenous circumstances. One of the most renowned and earliest pieces of Swahili literature beingUtendi wa Tambukaor "The Story of Tambuka".In Islamic times, North Africans such asibn Khaldunattained great distinction withinArabic literature. Medieval north Africa boasted universities such as those ofFesandCairo, with copious amounts of literature to supplement them.Colonial African literatureThe African works best known in the West from the period of colonization and the slave trade are primarily slave narratives, such asOlaudah Equiano'sThe Interesting Narrative of the Life of Olaudah Equiano(1789).In the colonial period, Africans exposed to Western languages began to write in those tongues. In1911,Joseph Ephraim Casely Hayford(also known as Ekra-Agiman) of theGold Coast(now Ghana) published what is probably the first African novel written in English,Ethiopia Unbound: Studies in Race Emancipation. Although the work moves between fiction and political advocacy, its publication and positive reviews in the Western press mark a watershed moment in African literature.During this period, Africanplaysbegan to emerge.Herbert Isaac Ernest DhlomoofSouth Africapublished the first English-language African play,The Girl Who Killed to Save: Nongqawuse the Liberatorin1935. In1962,Ngg wa Thiong'oofKenyawrote the first East African drama,The Black Hermit, a cautionary tale about "tribalism" (racismbetween African tribes).Among the first pieces of African literature to receive significant worldwide critical acclaim wasThings Fall Apart, byChinua Achebe. Published in 1958, late in the colonial era,Things Fall Apartanalyzed the effect of colonialism on traditional African society.[10]African literature in the late colonial period (between the end ofWorld War Iand independence) increasingly showed themes ofliberation, independence, and (among Africans in French-controlled territories)ngritude. One of the leaders of the ngritude movement, the poet and eventual President ofSenegal,Lopold Sdar Senghor, published in1948the first anthology of French-language poetry written by Africans,Anthologie de la nouvelle posie ngre et malgache de langue franaise(Anthology of the New Black and Malagasy Poetry in the French Language), featuring a preface by the FrenchexistentialistwriterJean-Paul Sartre.[11]For many writers this emphasis was not restricted to their publishing. Many, indeed, suffered deeply and directly: censured for casting aside his artistic responsibilities in order to participate actively in warfare,Christopher Okigbowas killed in battle forBiafraagainst the Nigerian movement of the 1960s'civil war;Mongane Wally Serotewas detained under South Africa'sTerrorism Act No 83 of 1967between 1969 and 1970, and subsequently released without ever having stood trial; inLondonin 1970, his countrymanArthur Norjecommitted suicide;Malawi'sJack Mapanjewas incarcerated with neither charge nor trial because of an off-hand remark at a university pub; and, in 1995,Ken Saro-Wiwawas hanged by the Nigerian junta.

Postcolonial African literatureWith liberation and increased literacy since most African nations gained their independence in the 1950s and 1960s, African literature has grown dramatically in quantity and in recognition, with numerous African works appearing in Western academic curricula and on "best of" lists compiled at the end of the 19th century. African writers in this period wrote both in Western languages (notablyEnglish,French, andPortuguese) and in traditional African languages such asHausa.Ali A. Mazruiand others mention seven conflicts as themes: the clash between Africa's past and present, between tradition and modernity, between indigenous and foreign, between individualism and community, between socialism and capitalism, between development and self-reliance and between Africanity and humanity.Other themes in this period include social problems such as corruption, the economic disparities in newly independent countries, and the rights and roles of women. Female writers are today far better represented in published African literature than they were prior to independence.In1986,Wole Soyinkabecame the first post-independence African writer to win theNobel Prizein literature. Previously,Algerian-bornAlbert Camushad been awarded the 1957 prize.Literacy in AfricaA discussion of written African literatures raises a number of complicated and complex problems and questions that only can be briefly sketched out here. The first problem concerns the small readership for African literatures in Africa. Over 50% of Africa's population is illiterate, and hence many Africans cannot access written literatures. The scarcity of books available, the cost of those books, and the scarcity of publishing houses in Africa exacerbate this already critical situation. Despite this, publishing houses do exist in Africa, and in countries such as Ghana and Zimbabwe, African publishers have produced and sold many impressive works by African authors, many of which are written in African languages.Many of the works identified by teachers and researchers in North America and Europe as African literature, Chinua Achebe'sThings Fall Apart, for example, are texts published by presses outside of Africa. Some of these works are not even available to African readers. Likewise, what an American teacher might recognize as an African novel might be very different from the locally produced, popular novels that are sold to and read exclusively by people living in Africa.Scholars have identified three waves of literacy in Africa. The first occurred in Ethiopia where written works have been discovered that appeared before the earliest literatures in the Celtic and Germanic languages of Western Europe (Gerard 47). The second wave of literacy moved across Africa with the spread of Islam. Soon after the emergence of Islam in the seventh century, its believers established themselves in North Africa through a series of jihads, or holy wars. In the eleventh and twelfth centuries, Islam was carried into the kingdom of Ghana. The religion continued to move eastward through the nineteenth century (Owomoyela 23).Remnants of narrative poetry in Swahili have been recovered from as early as the eighteenth century. The poems, in epic form, describe the life of Mohammed and his exploits against Christians. In West Africa, manuscripts in Arabic verse have been dated to the fourteenth century. Several literatures, known as ajami, written in the Arabic script for non-Arabic languages have been discovered from the eighteenth century. The literatures were written in Fulani (West Africa), Hausa (northern Nigeria), and Wolof (Senegal).The encounter with Europe through trade relationships, missionary activities, and colonialism propelled the third wave of literacy in Africa. In the nineteenth and twentieth centuries, literary activity in the British colonies was conducted almost entirely in vernacular languages. Missionaries found it more useful to translate the Bible into local languages than to teach English to large numbers of Africans. This resulted in the production of hymns, morality tales, and other literatures in African languages concerned with propagating Christian values and morals. The first of these "Christian-inspired African writings" emerged in South Africa (Owomoyela 28). Thomas Mofolo studied theology at the Bible School of the Paris Evangelical Mission at Morija (in present-day Lesotho). He worked as a teacher and clerk and was a proofreader for the Morija Printing Press. The Press published his novel,Moeti Oa Bochabella(The Traveler of the East) as a serial in the newspaperLeselinyanain 1906. The novel reveals the influence of Bunyan'sPilgrim's Progress, and tells the story of Fekesi, who, tired of all of the sinfulness he sees around him, tries to find a perfect kingdom to the East. West African writers, such as Chief Fagunwa who wrote in Yoruba, produced similar works in African languages. Writers also recorded proverbs, praise-poems, and other pieces of oral literature during this period.NegritudeAlthough Africans had been writing in Portuguese as early as 1850 and a few volumes of African writing in English and French had been published, an explosion of African writing in European languages occured in the mid-twentieth century. In the 1930s, black intellectuals from French colonies living in Paris initiated a literary movement called Negritude. Negritude emerged out of "a sudden grasp of racial identity and of cultural values" (Gerard 51) and an awareness "of the wide discrepancies which existed between the promise of the French system of assimilation and the reality" (Owomoyela 37). The movement's founders looked to Africa to rediscover and rehabilitate the African values that had been erased by French cultural superiority. Negritude writers wrote poetry in French in which they presented African traditions and cultures as antithetical, but equal, to European culture. Out of this philosophical/literary movement came the creation ofPresence Africaineby Alioune Diop in 1947. The journal, according to its founder, was an endeavor "to help define African originality and to hasten its introduction into the modern world" (Owomoyela 39). Other Negritude authors include Leopold Senghor, Aime Cesaire, and Leon Damas. Below is an excerpt from Senghor's poem "Prayer to Masks":Masks! Masks!Black mask red mask, you white-and-black masksMasks of the four points from which the Spirit blowsIn silence I salute you!Nor you the least, Lion-headed AncestorYou guard this place forbidden to all laughter of women, to all smiles that fadeYou distill this air of eternity in which I breathe the air of my Fathers.Masks of unmasked faces, stripped of the masks of illness and the lines of ageYou who have fashioned this portrait, this my face bent over the later of white paperIn your own image, hear me! (Owomoyela 42).In the mid-60s, Nigeria replaced French West Africa as the largest producer and consumer of African literature, and literary production in English surpassed that in French. Large numbers of talented writers in Francophone Africa came to occupy important political and diplomatic posts and gave up creative writing. Furthermore, the tenets of Negritude seemed far less relevant after independence and as newly independent nations found themselves facing civil wars, military coups and corruption (Gerard 53).The vastness in size and population of Nigeria gave it an advantage over smaller countries. In the 1950s, a large readership made up of clerks and small traders and a steadily increasing number of high schools students developed in Nigeria, and this readership enabled the emergence of Onitsha market literatures. Ibadan college, founded in 1957, produced some of the writers that came to the forefront in the 60s. East Africa followed West Africa, and in the 60s, Makerere College became a productive center for East African literature. By the mid-70s, after the coup that brought General Idi Amin to power in Uganda, Kenya became the literary center in East Africa.An African Literary TraditionThe written literatures, novels, plays, and poems in the 1950s and 60s have been described as literatures of testimony. (See Kenneth W. Harrow'sThresholds of Changein African Literature, Portsmouth and London: Heinemann and James Curry, 1994.) Novels such asNgugiwa Thiong'o'sA Grain of Wheat, Wole Soyinka'sThe Interpreters, Chinua Achebe'sThings Fall Apart, and Flora Nwapa'sEfuruare a few of the novels that might be described as literatures of testimony. These works, in part, attempt to respond to derogatory representations of, and myths about, African culture. Frequently written in the first person, literatures of testimony are concerned with representing African reality and valorizing African culture.The following generation of African authors produced literatures in European languages that have been described as literatures of revolt. These texts move away from the project of recuperating and reconstructing an African past and focus on responding to, and revolting against, colonialism, neocolonialism, and corruption. These literatures are more concerned with the present realities of African life, and often represent the past negatively. As Harrow explains, "instead of a past, a family, and a cultural background being reconstructed in positive terms, exemplary of African culture, the past is often viewed negatively, as something from which the protagonist has to escape" (84). Mariama Ba'sUne si longue lettre(So Long a Letter), Birgo Diop'sL'Aventure Ambigue(Ambiguous Adventure), and Peter Abrahams'Tell Freedomexemplify these literatures.The final group into which one can organize African authors is post-revolt writers. These writers move away from the use of realism and aim to develop new discourses and literary styles. They often focus on oppressive African regimes and employ an ironic style. The work of Sony Labou Tansi, Henri Lopes, Yambo Ouloguem, and Ahmadou Kourouma illustrate the style and content of post-revolt literatures.Women and African LiteratureAfrican women, although receiving less notice from scholars and historians, have been producing literature alongside African men. Women oral artists and performers continue to create oral literatures, and a few examples of these texts have been included in this lesson. In the early years of the twentieth century, African women such as Lillith Kakaza, who wrote in Xhosa, Victoria Swaartboo, who wrote in Xhosa, and Violet Dube working in Zulu produced works of literature in African languages. Adelaide Casely-Hayford, born in Sierra Leone, educated in England and Germany, and married to the well-known lawyer Joseph Casely-Hayford represents the first generation of women writing in European languages. Her short story "Mista Courifer," published in 1961, examines the collision between African and Western cultures. These women, from elite backgrounds and educated in colonial schools, began writing at about the time many of their countries gained independence. They include Mabel Dove Danquah, from the Gold Coast, Grace Ogot and Noni Jabavu of Kenya, and Flora Nwapa of Nigeria. Since the 1970s, African women have written a wide array of works that have been well received by readers and teachers of African literature. A few of these include Ama Ata Aidoo, Buchi Emecheta, Bessie Head, Mariama Ba, Miriam Tlali, Nafissatou Dialo, Aminata Sow Fall, Zulu Sofola, Fatima Dike, Rebeka Njau and Micere Mugo.Noma AwardInaugurated in 1980, theNoma Award for Publishing in Africais presented for the outstanding work of the year in African literatures.TheNoma Award for Publishing in Africa(French:Le Prix Noma de Publication en Afrique), which ran from 1980-2009, was an annual$10,000 prize for outstanding African writers and scholars who published inAfrica. Within four years of its establishment, the prize "had become the major book award in Africa".[1]It was one of the series ofNoma Prizes.The prize was established in 1979 byShoichi Noma(died 1984), president ofKodanshaLtd, the largest publishing house in Japan, to encourage the publication of works by African authors.[2]The award was annual and given to any new book published in three categories: literature, juvenile and scholarly. The award was sponsored by Kodansha Ltd, administered by the quarterlyAfrican Book Publishing Record,[3]and presented under the auspices ofUNESCO. Books were admissible in any of the languages of Africa, whetherlocalorEuropean. The award was ended in 2009 after the Noma family ceased its sponsorship.[4]Winners 1980:Une Si Longue LettrebyMariama B 1981:Health Education for the CommunitybyFelix C. Adi 1982:The Brassmans SecretbyMeshack Asare 1983:Criminal Procedure in GhanabyAustin N.E. Amissah 1984:Mesandiki wa Mau Mau Ithaamirio-in[prison memoirs in Gikuyu] byGakaara wa Wanjau,Fools and other storiesbyNjabulo Ndebele 1985:La Trahison de MariannebyBernard Nanga 1986:Sobreviver em Tarrafal de Santiago[poetry] byAntnio Jacinto 1987:Villes de Cte dIvoire, 1893-1940byPierre Kipr 1988:Working Life. Factoris, Townships, and Popular Culture on the Rand, 1886-1940byLuli Callinicos 1989:BonesbyChenjerai Hove 1990:Uprooting Poverty: The South African ChallengebyFrancis Wilson&Mamphela Ramphele 1991:Waiting Laughters[poetry] byNiyi Osundare 1992:A comme Algriennesby Souad Khodja;One Day, Long Ago. More Stories from a Shona ChildhoodbyCharles Mungoshi, illustrated by Luke Toronga 1993:Third World ExpressbyMongane Wally Serote 1994:A Modern Economic History of Africa. Volume 1: The Nineteenth Century(Dakar:CODESRIA, 1993) 1995:TriomfbyMarlene van Niekerk 1996:Destins parallelesbyKitia Toure 1997:Mfantsipim and the Making of Ghana: A Centenary History, 1876-1976byA. Adu Boahen 1998:The Politics of Liberation in South Sudan: An Insider's ViewbyPeter Adwok Nyaba 1999:L'interpretation des reves dans la region Senegambienne. Suivi de la clef des songes de la Senegambie de l'Egypte pharaonique et de la tradition islamiquebyDjibril Samb.[5] 2000:Ufundishaji wa Fasihi: Nadharia na MbinubyKimani Njogu&Rocha Chimera 2001:Odun Ifa/Ifa FestivalbyAbosede Emanuel 2002:The Arabic Novel: Bibliography and Critical Introduction, 1865-1995byHamdi Sakkut 2003:Walter and Albertina Sisulu. In Our LifetimebyElinor Sisulu 2004: In 2004 the jury decided not to select a winner, but did give four titles Honourable Mention: The Cry of Winnie Mandelaby Njabulo Ndebele The Plays of Miracle and WonderbyBrett Bailey Lanre and the Queen of the Streamby Tunde Lawal-Solarin A Dictionary of Yoruba Personal Namesby Adeboye Babalola & Olugboyega Alaba 2005:La mmoire amputebyWerewere Liking 2006:In a Ribbon of RhythmbyLebogang Mashile 2007:StrifebyShimmer Chinodya 2008:Beginnings of a DreambyZachariah Rapola 2009:Lawless and Other StoriesbySefi Atta[6]

Major novels from African writers Peter Abrahams(South Africa):Mine Boy,This Island Now,A Wreath for Udom Deon Opperman(South Africa):Donkerland(Dark Land),Kruispad(Crossroad),Hartland(Heartland) Chinua Achebe(Nigeria):Arrow of God,No Longer At Ease,Things Fall Apart Chimamanda Ngozi Adichie(Nigeria):Purple Hibiscus,Half of a Yellow Sun Andre Brink(South Africa):'n Droe Wit Seisoen(A Dry White Season),Gerugte van Reen(Rumours of Rain) K. Sello Duiker(South Africa):Thirteen Cents,The Quiet Violence of Dreams Jos Eduardo Agualusa(Angola):Rainy Season,Creole,The Book of Chameleons,My Father's Wives Mohammed Naseehu Ali(Ghana):The Prophet of Zongo Street Germano Almeida(Cape Verde):O dia das calas roladas,The Last Will and Testament of Senhor da Silva Arajo Elechi Amadi(Nigeria):The Concubine,The Great Ponds,Sunset in Biafra Karel Schoeman(South Africa):n Ander Land(Another Country),Na die Geliefde Land(Promised Land) Ayi Kwei Armah(Ghana):The Beautyful Ones Are Not Yet Born Sefi Atta(Nigeria):Everything Good Will Come Ayesha Harruna Attah(Ghana):Harmattan Rain Athol Fugard(South Africa):Tsotsi Mariama B(Senegal):Une si longue lettre(So Long a Letter) Mongo Beti(Cameroon):The Poor Christ of Bomba J.M. Coetzee(South Africa):Disgrace,Life & Times of Michael K Mia Couto(Mozambique):Terra Sonmbula(A Sleepwalking Land) Tsitsi Dangarembga(Zimbabwe):Nervous Conditions Mohammed Dib(Algeria): "La grande maison" Assia Djebar(Algeria):Les Enfants du Nouveau Monde Buchi Emecheta(Nigeria):The Bride Price,The Joys of Motherhood Daniel Olorunfemi Fagunwa(Nigeria):Ogboju od ninu igbo irunmal(The Forest of a Thousand Demons) Nuruddin Farah(Somalia):From a Crooked Rib,Maps,Sweet and Sour Milk Nadine Gordimer(South Africa):Burger's People,The Conservationist,July's People Alex La Guma(South Africa):In the Fog of the Seasons' End,The Stone Country,Time of the Butcherbird,A Walk in the Night Marlene van Niekerk(South Africa):Triomf(Triumph) Bessie Head(Botswana):When Rain Clouds Gather Moses Isegawa(Uganda)Abyssinian Chronicles E. K. M. Dido(South Africa):'n Stringetjie Blou Krale(A String of Blue Beads),Die Storie van Monica Peters(The Story of Monica Peters) Tahar Ben Jelloun(Morocco):The Sacred Night,The Sand Child,This Blinding Absence of Light Cheikh Hamidou Kane(Senegal):L'Aventure Ambigu Yasmina Khadra(Algeria):The Swallows of Kabul Camara Laye(Guinea):The Radiance of the King Naguib Mahfouz(Egypt):The Beginning and the End,Cairo Trilogy,Children of Gebelawi,Midaq Alley Charles Mangua(Kenya):A Tail in the Mouth Sarah Ladipo Manyika(Nigeria):In Dependence Dambudzo Marechera(Zimbabwe):The House of Hunger Dalene Matthee(South Africa):Kringe in 'n bos(Circles in a Forest) Thomas Mofolo(South Africa/Lesotho):Chaka Meja Mwangi(Kenya):Carcase for Hounds,Going Down River Road,Kill Me Quick Lewis Nkosi(South Africa):Mandela's Ego,Mating Birds,Underground People Nnedi Okorafor(Nigeria):Zahrah the Windseeker Ben Okri(Nigeria):The Famished Road Yambo Ouologuem(Mali):Le Devoir de Violence Olive Schreiner(South Africa):The Story of an African Farm Alan Paton(South Africa):Cry, The Beloved Country Pepetela(Angola):Muana Pu, Mayombe,A Gloriosa Famlia Nawal El Saadawi(Egypt):Woman at Point Zero Tayeb Salih(Sudan): "Season of Migration to the North" Zakes Mda(South Africa):Ways of Dying,The Heart of Redness Benjamin Sehene(Rwanda):Le Feu sous la Soutane(Fire under the Cassock) Ousmane Sembne(Senegal):Xala,The Black Docker(Le Docker Noir),God's Bits of Wood(Les Bouts de Bois de Dieu),The Last of the Empire(Le dernier de l'Empire),Tribal Scars(Voltaque) Wole Soyinka(Nigeria):The Interpreters,Seasons of Anomy, Ngg wa Thiong'o(Kenya):A Grain of Wheat,Matigari,Petals of Blood,Weep Not, Child,Wizard of the Crow Sol Plaatjie(South Africa):Mhudi Yvonne Vera(Zimbabwe):Butterfly Burning Chris Barnard(South Africa):Bundu,Mahala Jos Luandino Vieira(Angola):Luuanda Birhanu Zerihun(Ethiopia):Ye'imba debdabbwoch"Yearful Letters" Rayda Jacobs(South Africa):The Slave Book,Eyes of the Sky,Confessions of a Gambler Joseph Jeffrey Walters(Liberia):Guanya Pau, A Story of An African Princess, 1891 Bai Tamia Moore(Liberia):Murder in the Cassava Patch Wilton K. Sankawolo(Liberia)Birds Are Singing

Notable African poets

Antjie Krog(South Africa) Chinua Achebe(Nigeria) Georges Andriamanantena (Rado)(Madagascar) Ama Ata Aidoo(Ghana) Jared Angira(Kenya) Kofi Anyidoho(Ghana) Kofi Awoonor(Ghana) Sahlesillasse Birhanemariam(Ethiopia) Dennis Brutus(South Africa) Glynn Burridge(Seychelles) Abena Busia(Ghana) John Pepper Clark(Nigeria) Jos Craveirinha(Mozambique) Viriato Clemente da Cruz(Angola) Tsegaye Gebremedhin(Ethiopia) Abbe Gubenga(Ethiopia) Don Mattera(South Africa) Jonathan Kariara(Kenya) Joseph Kariuki(Kenya) Susan Kiguli(Uganda) Ahmadou Kourouma(Ivory Coast) Togara Muzanenhamo(Zimbabwe) Arthur Nortje(South Africa) Gabriel Okara(Nigeria) Ingrid Jonker(South Africa) Patricia Jabbeh Wesley(Liberia) K. Moses Nagbe(Liberia) Bai Tamia Moore(Liberia) Prof. Jack Mapanje(Malawi) Nii Parkes(Ghana) Christopher Okigbo(Nigeria) Ben Okri(Nigeria) Okot P'Bitek(Uganda) Lenrie Peters(Gambia) Jean-Joseph Rabearivelo(Madagascar) Jacques Rabemananjara(Madagascar) Elie Rajaonarison(Madagascar) Breyten Breytenbach(South Africa) Ny Avana Ramanantoanina(Madagascar) Pierre Randrianarisoa(Madagascar) Jean Verdi Salomon Razakandraina (Dox)(Madagascar) David Rubadiri(Malawi, Uganda) Lopold Sdar Senghor(Senegal) Vronique Tadjo(Ivory Coast) Wole Soyinka(Nigeria) Hadraawi(Somalia) Dagnachew Werku(Ethiopia) Bewketu Seyoum(Ethiopia) Adam Small(South Africa) Getinet Eniyew( Ethiopia) Debede Seyfu( Ethiopia) Eugene Marais(South Africa) Armnio Vieira(Cape Verde)

WORLD LITERATURE(AFRICA)

Submitted by:Group 2 Manalang, RuwieDuenas, Angelo Evangelista, AlvinGadiane, ChristianNalang, Feliza JSallegue, Sarah Rose

BSBA MM 4-5D