Novel of the queen of Dahomey, wife of the 18th century King Aglogo, who was exiled as a slave to Brazil, where she established a center of Yoruba religion.

For the first time in the literary tradition, the contemporary woman's historical novel (post-1970) is surveyed from a transnational feminist perspective. Analyzing the maternal (the genre's central theme) reveals that historical fiction is a transnational feminist means for challenging historical erasures, silences, normative sexuality, political exclusion, and divisions of labor. (Series: Contributions to Transnational Feminism - Vol. 5)

Wives of the Leopard explores power and culture in a pre-colonial West African state whose army of women and practice of human sacrifice earned it notoriety in the racist imagination of late nineteenth-century Europe and America. Tracing two hundred years of the history of Dahomey up to the French colonial conquest in 1894, the book follows change in two central institutions. One was the monarchy, the coalitions of men and women who seized and wielded power in the name of the king. The second was the palace, a household of several thousand wives of the king who supported and managed state functions. Looking at Dahomey against the backdrop of the Atlantic slave trade and the growth of European imperialism, Edan G. Bay reaches for a distinctly Dahomean perspective as she weaves together evidence drawn from travelers' memoirs and local oral accounts, from the religious practices of vodun, and from ethnographic studies of the twentieth century. Wives of the Leopard thoroughly integrates gender into the political analysis of state systems, effectively creating a social history of power. More broadly, it argues that women as a whole and men of the lower classes were gradually squeezed out of access to power as economic resources contracted with the decline of the slave trade in the nineteenth century. In these and other ways, the book provides an accessible portrait of Dahomey's complex and fascinating culture without exoticizing it.

Nature's Ancient Religion is 50% autobiography of the author's spiritual journey from cynic to Babalawo with Wanaldo. His rank in the world's seventh largest religion (175,000,000) is on par with a Catholic Arch Bishop. The author describes each step or level of his rise in Havana, Cuba. Readers are treated to the unique flavor of the forbidden island too. 50% is authoritative narrative of religions including: Catholicism, Christianity, Hinduism, Islam, indigenous and African. Anthropology is discussed including the 2007 Haplogroup mapping that is so important . Fresh pataki ( legends) are introduced, shrines honoring the Orishas are described. Core concepts of Ashe (Nature's energy), Odu, Ancestors, Dead, dreams and divination are probed and explained. The increasing role of women is discussed as well as racial tensions. Nature's Ancient Religion has 22 pages of Orisha worship book reviews, a glossary, index and the illustrations of Victorio Evelio Cu� Villate.

Myths are a central part of our reality. But merely debunking them lets us forget why they are created in the first place and why we need them. André Fischer draws on key examples from German postwar culture, from novelists Hans Henny Jahnn and Hubert Fichte, to sculptor and performance artist Joseph Beuys, and filmmaker Werner Herzog, to show that mythmaking is an indispensable human practice in times of crisis. Against the background of mythologies based in nineteenth-century romanticism and their ideological continuation in Nazism, fresh forms of mythmaking in the narrative, visual, and performative arts emerged as an aesthetic paradigm in postwar modernism. Boldly rewriting the cultural history of an era and setting in transition, The Aesthetics of Mythmaking in German Postwar Culture counters the predominant narrative of an exclusively rational Vergangenheitsbewältigung (“coming to terms with the past”). Far from being merely reactionary, the turn toward myth offered a dimension of existential orientation that had been neglected by other influential aesthetic paradigms of the postwar period. Fischer’s wide-ranging, transmedia account offers an inclusive perspective on myth beyond storytelling and instead develops mythopoesis as a formal strategy of modernism at large.