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Modern Poetry from Africa
Ramsey Muspratt, Cambridge Gerald Moore was born in Ulli Beier was born in London in 1 924 and read Germany in 1 922 and studied En lish t m li a Ca . a u a g bridge He ter t re in Engl nd. Since began to be interested in 1 950 he has been living in African writing during thr ee Nigeria, where he is a years he spent as an extra lecturer in the department of mu a u o in N a F om x a-mu a r l t t r igeri . r e tr r l studies at to l 1 956 1 960 he was the first University Co lege, Ibadan direct or of extra-mural He is editor of the literary a z B studies at Hong Kong m ga ine, lack Orpheus, and t University and visited China, in 1 96 1 helped o found M a a c u for a a Siam, Cambodia, and Malaya . b ri, l b Ib d n Since 1 960 he has been writers and artists, which is director of extra-mural already having an influence He studies at Makerere College on African cultural life . ‘ a m m a o o - o of Mba in Uganda. He is e ber is ls j int edit r ri ’ o Amo his of the Black Orpheus Publicati ns . ng oo are Yoruba Poetr committee and his first book, b ks y S even African Writers, Art in Nigeria I 96 O and West A rican Mud was published in 1 962 . -
Critical Commentary on Gabriel Okara╎s Postwar Ode, •Ÿthe
University of Massachusetts Boston ScholarWorks at UMass Boston Africana Studies Faculty Publication Series Africana Studies 1-1-2011 'Clearing the Forest': Critical Commentary on Gabriel Okara’s Postwar Ode, ‘The Dreamer’ Chukwuma Azuonye University of Massachusetts Boston, [email protected] Follow this and additional works at: http://scholarworks.umb.edu/africana_faculty_pubs Part of the African Languages and Societies Commons, Comparative Literature Commons, and the English Language and Literature Commons Recommended Citation Azuonye, Chukwuma, "'Clearing the Forest': Critical Commentary on Gabriel Okara’s Postwar Ode, ‘The Dreamer’" (2011). Africana Studies Faculty Publication Series. Paper 1. http://scholarworks.umb.edu/africana_faculty_pubs/1 This Article is brought to you for free and open access by the Africana Studies at ScholarWorks at UMass Boston. It has been accepted for inclusion in Africana Studies Faculty Publication Series by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. ‘Clearing the Forest’: Critical Commentary on Gabriel Okara’s Postwar Ode, ‘The Dreamer’ Chukwuma Azuonye Professor of African & African Diaspora Literatures University of Massachusetts Boston And now the dreamer, with machete, Word-sharpened, is clearing the forest Of its macro-stench and venality To sow the seed that would send its roots, Unshaken by wind or storm, to its expected greatness. [Gabriel Okara, “The Dreamer,” 2006) Introduction A large body of the poetry of Gabriel Okara (b. April 24, 1921) was lost in the confusion that came with the sudden end of the Biafran war of independence from Nigeria (July 6, 1967-January 12, 1970). But a slim gathering of his verse, The Fisherman’s Invocation and Other Poems (ed. -
Oil, Imperialism, Underdevelopment and the Vampire State in Tanure
IRWLE VOL. 10 No. II July 2014 1 Oil, Imperialism, Underdevelopment and the Vampire State in Tanure Ojaide’s The Activist Chijioke Uwasomba INTRODUCTION Oil (crude) has become such an important international resource that has attracted all kinds of attention and conflicts among states and between states and citizens. For now and for a long time to come oil will continue to play a significant role in the affairs of humanity. This is because of its strategic place and role in the making of nations whether at the core or at the periphery. In the industrial North it facilitates and sustains its production activities while it is a source of large revenue to both the oil majors and their home countries on the one hand, and oil-bearing countries on the other. In Nigeria as Turner and Badru (1984) have shown, oil has been implicated as a major factor leading to coups and counter coups in the jostle for power among the various factions of the ruling elite to establish their hegemony with a view to controlling the wealth of the nation. In these bitter struggles for the control of oil and what it offers, the ruling elite could do anything in the process. The situation is worsened by the involvement of the state in the contestation for primitive accumulation. In Nigeria, and as Olorode (2012:16) has noted, the ruling class has superintended a state where “state apparati have been used largely to entrench its hegemony at the expense of national development and of socio-economic advance of the large majority of the people”. -
'The Mystic Drum': Critical Commentary on Gabriel Okara's
University of Massachusetts Boston From the SelectedWorks of Chukwuma Azuonye 2011 ‘The ysM tic Drum’: Critical Commentary on Gabriel Okara’s Love Lyrics Chukwuma Azuonye, University of Massachusetts Boston Available at: https://works.bepress.com/chukwuma_azuonye/82/ ‘The Mystic Drum’: Critical Commentary on Gabriel Okara’s Love Lyrics: By Chukwuma Azuonye, PhD Professor of African & African Diaspora Literatures University of Massachusetts Boston Introduction In the course of reading a chapter entitled “Empty and Marvelous” in Alan Watts fascinating book, The Way of Zen (1957), a serendipitous key was provided, by the following statement from the teachings of Chinese Zen master,1 Ch’ing Yuän Wei-hsin (1067-1120), to the structure and meaning of the experience dramatized in Gabriel Okara’s most famous love poem, “The Mystic Drum”: 2 Before I had studied Zen for thirty years, I saw mountains as mountains and waters as waters. When I arrived at a more intimate knowledge, I came to the point where I saw the mountains are not mountains, and waters are not waters. But now that I have got its very substance I am at rest. For it’s just now that I see mountains once again as mountains and waters once again as waters. What is so readily striking to anyone who has read “The Mystic Drum” is the near perfect dynamic equivalence between the words of Ch’ing Yuän and the phraseology of Okara’s lyric. In line with Ch’ing Yuän’s statement, the lyric falls into three clearly defined parts—an initial phase of “conventional knowledge,” when men are men and fishes are fishes (lines 1-15); a median phase of “more intimate knowledge,” when men are no longer men and fishes are no longer fishes (lines 16-26); and a final phase of “substantial knowledge,” when men are once again men and fishes are once again fishes, with the difference that at this phase, the beloved lady of the lyric is depicted as “standing behind a tree” with “her lips parted in her smile,” now “turned cavity belching darkness” (lines 27-41). -
15910724175Ed5d6a122058.Pdf
M.A.IV SEMESTER 2020 AFRICAN AND CARRIBEAN LITERATURE Paper-XIII Practice Paper Multiple choice Questions Maximum Marks-100 Each Question carries 1 mark By Dr Priyanka Maral Department of English K.N.Govt. P.G.College, Gyanpur, Bhadohi, Uttar Pradesh 1-Dennis Brutus was born in (a) 1924 (b)1736 (c)1987 (d)1964 2- What is the full name of Dennis Brutus (a )Dennis wal Brutus (b)Dennis bes Brutus (c) Dennis wan Brutus (d)Dennis Vincet Brutus 3- Who was responsible for banning South Africa from Olympics due to apartheid? (a)Dennis Brutus (b)Jane Austen (c) Thomas Hardy (d)Wole soynika 4- Dennis Brutus died on (a)September2010 (b)March 214 (c)2009 (d)2004 5- Who wrote the poem You Laughed and Laughed and Laughed? (a)Gabriel Okara (b)Dennis Brutus (c)Chinua Achebe (d)Thomas Hardy 6- In how many stanzas the poem You Laughed and Laughed and Laughed is written (a)10 (b)11 (c)12 (d)15 7- In the poem You Laughed and Laughed and Laughed the interaction between (a)A White colonialist and an African native (b)An African and American (c)An Indian and an African (d)An Indian and a White 8-what is the theme of the poem You Laughed and Laughed and Laughed (a)The belief in Indian culture (b)The belief in African culture (c)The belief in European culture (d)The belief in American culture 9-when was the poem You Laughed and Laughed and Laughed published (a)1985 (b)1986 (c)1987 (d)1989 10-In which year Gabriel Okara won the Commonwealth prize (a)1979 (b)1989 (c)1982 (d)1987 11- In which year Gabriel Okara was born (a)1931 (b)1941 (c)1921 (d)1957 12- To which -
The International Journal of Humanities & Social Studies
THE INTERNATIONAL JOURNAL OF HUMANITIES & SOCIAL STUDIES ISSN 2321 - 9203 www.theijhss.com THE INTERNATIONAL JOURNAL OF HUMANITIES & SOCIAL STUDIES Revisiting Environmental Challenges in Niger Delta: A Survey of Tanure Ojaide’s Poetic Historicism Mary Enwelim -Nkem Okoh Lecturer, Department of Languages School of General Studies, Delta State Polytechnic, Ogwashi Uku, Delta State, Nigeria Solomon Onovwiona Lecturer, Department of Languages, School of General Studies, Delta State Polytechnic Ogwashi Uku, Delta State, Nigeria Abstract: Environmental challenges in Niger Delta of Nigeria arising from oil spillage, loss of mangrove forests, depletion of fish population, water hyacinth invasion, natural gas flaring amongst others caused by the activities of oil multinational companies have been at the top burner of academic discourse for more than three decades now. Many literary artists and critics from different dimensions – drama, prose, and poetry have written scholarly works challenging these situations. Notable among them is Tanure Ojaide. He has used both the mediums of prose and poetry to decry the evil of environmental degradation to the people of Niger Delta in particular and the overall long effects on the Nigerian economy in general. The seriousness of this theme has resulted in many critical and appreciative works done on the poetry and prose of Tanure Ojaide and the Niger Delta environmental problems. The present study takes a step further by giving a historical survey of the features of environmental challenges in the poetry of Tanure Ojaide from his early collection Children of Iroko and Other Poems (1973) to Songs of Myself (2015). The purpose is to establish Ojaide’s consistency or otherwise to the course of exposing environmental problems suffered by the people of Niger Delta and attendant solutions in virtually all his poetry collections. -
Ezekiel Mphahlele: an Appreciation (1919-2008) by Ntongela Masilela
Untitled Document Ezekiel Mphahlele: An Appreciation (1919-2008) by Ntongela Masilela When H. I. E. Dhlomo in late 1947 listed in Ilanga lase Natal newspaper the then recently published first book by Mphahlele, a collection of short stories Man Must Live (1947), as one of the new talented voices that was likely to carry into the future a splendid literary culture that had a noble past, he could not have known how presciently astute his observation was as it practically predicted the trajectory of the following five decades by the man who was subsequently to write The African Image (1962), one of the early classics of African literary criticism. Since one of his aims was to fortify the intellectual tradition of New African creativity, Dhlomo was constantly in search of new talent in whom to inscribe the intellectual ethos of the New African Movement. This was the reason he constantly exhorted young Africans to emulate a political and cultural legacy that was destined to bring Africa back to African people from European trespassers by inventing its own particular understanding of the national project of modernity. The intellectual practice of Mphahlele that was to unfold across many decades and in the complex geo-political space of the African world had many affinities with that of Dhlomo, in that both were uncompromising in the belief that ideas not ideologies must be taken seriously, that culture must be made to supersede politics whenever possible, that form not content in an artistic work is what endures through the ages, and so on. In this sense, their distinctive nationalism was that of the politics of intellectual excellence. -
African Writers Meet in Uganda
African Writers meet in Uganda by BERNARD FONLON The Conference of African Writers of English Expression which was held in Makerere, Kampala, Uganda, from the 8th to 18th of June, 1962, brought together makers of creative literature from the East, from the West and the South of the continent. Chinua Achebe, novelist, John Pepper Clark, poet and dramatist, Gabriel Okara, poet, and short-story writer, Christopher Okigbo, poet, Wole Soyinka, poet and dramatist, Donatus Nwoga, critic — came from Nigeria. George Awooner-Williams, poet, Elizabeth Spio-Garbrah, poet, Cameron Duodu — were Ghana's representatives. To speak for South Africa, came the exiles, Ezekiel Mphahlele, Bloke Modisane, Arthur Maimane — all short-story writers. East Africa was represented by, Grace Ogot, short-story writer, John Nagenda, poet and short-story writer, Rebecca Njau, dramatist. There were envoys from Africa across the Seas : Langston Hughes, famous American Negro poet, Saunders Redding, writer, critic and Professor of Litera- ture at Hampton Institute, Virginia, Arthur Drayton of Trinidad, critic, and Barry Reckord of Jamaica, dramatist. 39 A B B I A As observers from French speaking Africa came Amadou Samb of Senegal and Paulin Joachim of Dahomey, editor of the magazine, Bingo. I was there to represent the bilingual Republic of Cameroon. The need for African programmes in radio and television services is stimulating a good deal of writing in some African countries. To enlighten the conference on writing for these media were : Yemi Lijadu of Broadcasting House, Lagos, Frances Ademola of Broadcasting House, lbadan, Segun Olusola of Western Nigeria Television, Ibadan, Lewis Nkosi of South Africa, and Denis Duerdin of the Transcription Centre, London. -
(C.,.,.,Br,<(7E: ~(,,,'Jje U,;Vers:; Fre~R, /C/R6)J
Qober+- F""ro.ser CJ.est ltfr,'w-vi Poe:tr1: A- Cv,/1;o...-r (C.,.,.,br,<(7e: ~(,,,'Jje u,;vers:; fre~r, /C/R6)j King 46 s. A. Gingell, "His River's Complex Course: Reflections on Past, Present and Future in the Poetry of Gabriel Okara," World Literature Written in English, 23 (~(1984): 284-297; h,·, K.L. Goodwin, "Gabriel Okara," in Understanding African Poetry: /\ A Study of Ten Poets (London: Heinemann, 1982); -t1142-153; Solomon Iyasere, "Narrative Techniques in Okara's The Voice," African Literature Today, 12 (1982): 5-21; Bruce King, "The Poetry of Gabriel Okara," Chandrabhaga, 2 (1979): 60-65; Margaret Laurence, Long Drums and Cannons (New York: Frederick Praeger, 1969); Bemth Lindfors, "Gabriel Okara: The Poet as Novelist," Pan-African Journal, 4 (1971): 420-425; ;/.<Je11 ~v~ a.-...J. w~J- d- 1 ''~br,~( Ok1..ret's 2. 2): I 2. I - f 2 ~ #~ I~ Ci,,,.v f '>~ I, (,q ~ 6; pl .J King -- ~ ~ 974); P.N. Njoroge, "Gabriel Okara: The Feeler of the Pulse of Africa's Soul," Busara, 5 (1973): 48-56; Errananuel N. Obiechina, "Art and Artifice in Okara's The Voice," Okike, 1 (September, 1972) : 23-33; Eustace Palmer, An Introduction to the African Novel: A Critical Study of Tw'elve Books ,!?y Chinua Achebe, James Ngugi, Camara I.aye, Elechi Amadi, Ayi Kwei Arrrah, Mongo Beti and Gabriel Okara (London: Heinemann, 1972); Kirsten Holst Petersen, "Heterogeneous Worlds Yoked Violently Together," Kunapipi, 1 (1979): 155-158 Adrian A. Roscoe, Mother is Gold (Cambridge: Cambridge University Press, 1971); Reinhard Sander, "A Political Interpretation of Gabriel Okara's The Voice," Omaba, 10 (1974): 4-15; K.E. -
Why Banditry Thrives in North –Zamfara Governor
h e O l u b a d a n o f Ibadanland, Oba Saliu TAkanmu Adetunji, on Igboho: Olubadan sends delegation to Sunday, disclosed he has sent a delegation to Cotonou, monitor court proceedings in Cotonou Fresh strike looms Benin Republic to observe the proceedings of the court case sent a delegation to President General, Dr. involving Sunday Adeyemo, m o n i t o r t h e c o u r t Tirimisiyu Oladimeji; also known as Sunday processes. Ekefa Olubadan, Senior as ASUU accuses Igboho. H e s p o k e w h i l e Chief Lekan Alabi; Ajia Igboho was last week exchanging views with Olubadan, Chief Wasiu arrested by security agents in some indigenes of Ibadan Aderoju Alaadorin; Mogaji Cotonou along with one of his a m o n g w h o m w e r e M a k u s o t a , P r o f . FG of breaching wives on their way to Central Council of Ibadan Oluwasegun Adekunle and Germany. Indigenes President Personal Assistant to the The Olubadan, while General, Prince Yemisi Olubadan, Adeola Oloko. PAGE 21 speaking, noted that he has A d e a g a , f i r s t v i c e agreement ...continued on page 3 Sunday Igboho Vol. 1 , No. 25 August 1, 2021 www.nigeriangateway.com N200 APC sweeps Ogun LG poll PAGE 2 Gov. Abiodun inaugurates 20 Chairmen-elect Mixed-feelings as 28 out of 145 kidnapped Bethel Baptist students regain freedom PAGE 21 Kanu appears in PAGE 8 Mixed-feelings as kidnappers released 28 out of 145 kidnapped Bethel Baptist School students on Sunday court today Why banditry thrives in North –Zamfara GovernorPAGE 4 August 1, 2021 |2 August 1, 2021 |3 News FEDERAL NEUROPSYCHIATRIC HOSPITAL, News feature Adeyanju to Justice Nyako: Recuse yourself ARO, ABEOKUTA from Kanu's trial, your husband is Fulani EXPRESSION OF INTEREST FOR SECURITY SERVICES popular Abuja-based Fulani groups in Adamawa should recuse herself. -
Modern Poetry from Africa
<* ^4>. enguin African Library Modern Poetry ft * • ,'. '¥^* --. -a. ^Hfi "»* *%«^«, 9f\ »« M JfSVJ'' '-* ^ dited by Gdraid Moo d Ulli > ^• -^ LV -. Ramsey & Muspratt, Cambridge Gerald Moore was born in Ulli Beier was born in London in 1924 and read Germany in 1922 and studied English at Cambridge. He literature in England. Since began to be interested in 1950 he has been living in African writing during three Nigeria, where he is a years he spent as an extra- lecturer in the department of mural tutor in Nigeria. From extra-mural studies at 1956 to i960 he was the first University College, Ibadan. director of extra-mural He is editor of the literary studies at Hong Kong magazine. Black Orpheus, and University and visited China, in 1 96 1 helped to found Siam, Cambodia, and Malaya. Mbari, a club for Ibadan Since i960 he has been writers and artists, which is director of extra-mural already having an influence studies at Makerere College on African cultural life. He in Uganda. He is a member is also joint-editor of ' Mbari of the Black Orpheus PubUcations'. Among his committee and his first book; books are Yoruba Poetry Seven African Writers, (i959)> ^^^ i^ Nigeria i960 was published in 1962. (i960), and West African Mud Sculpture (1962). Cover design by Massimo Vignelli I^K*^^^ .^T-.;-.-^—^-^>^.. -.: ^if;-,jpii-,1li-,arV"*-'^''™ Ramsey & Muspratt, Cambridge Gerald Moore was born in UUi Beier was born in London in 1924 and read Germany in 1922 and studied English at Cambridge. He literature in England. Since began to be interested in 1950 he has been living in African writing during three Nigeria, where he is a years he spent as an extra- lecturer in the department of mural tutor in Nigeria. -
Individualism and Community in the Novels of Ngugi Wa Thiong'o
o n- b-c\S RECONSTRUCTING IDENTITY IN POSTCOLONIAL AFRICAN FICTION: Individualism and Community in the Novels of Ngugi wa Thiong'o Dianne O. Schwerdt A thesis submitted for the degree of Doctor of Philosophy Department of English University of Adelaide November L994 N,n' t\t t\ \'\ct" CONTENTS Abstract I Statements Í1 Acknowledgements lV 1. Introduction: Defining the Territory 1 2. Reconstructing the Past: Ngugi's Kenya 42 3. The Divided Individual: Social and Cultural Displacement in The River Between andWeep Not, Child 73 4. Redef,rning the Emergency: The Fragmented Community in A Grain of Wheat r20 5. Individual Choice and Communal Solidarity: Class Alliance in Petals of Blood r64 6. The'Way Home: Restoring Community in Devil on the Cross and Matigari 205 7. Conclusion: Redefining the Future 247 Works Consulted 270 ABSTRACT The intention of this thesis is to examine the way in which Kenya's most significant writer, Ngugi wa Thiong'o, has portlayed the impact of colonialism on the relationship between individualism and community in postcolonial Africa. The views ù expressed in his fiction ale shaped as much by the political, economic, social and cultural forces that have eroded communal structures and values, as by African resistance to those folces. They reflect not only his own disillusionment, but the disenchantment felt by many African intellectuals in the aftermaths of national independence. The changes expedenced by Afiican societies as a rcsult of colonial intervention in Africa were characteristically lapid. Ngugi poltrays tl-re processes by which traditional alliances between individuals and their co--.rnities were disrupted, and the various ways in which new relationships wele forged that could fiuitfully accommodate emerging identities that were not necessarily grounded in the traditional community.