This second volume in the Critical Approached series is an exposition of the craft of Nigerian writer, theatre director, poet, dramatist and editor, Onuora Ossie Enekwe. The professor of dramatic literature spent thirty years developing and advancing the drama and graduate curriculum of the University Nsukka and had in addition been editor of Okike. An African Journal of New Writing which was founded by Chinua Achebe.

Interviews from over the course of the author's career document his views on writing, poetry, drama, and the social role of the writer

“A revelation. Reclaiming fashion from its European history.” – Shane White With a focus on sub-Saharan Africa, Fashioning the Afropolis provides a range of innovative perspectives on global fashion, design, dress, photography, and the body in some of the major cities, with a focus on Lagos, Johannesburg, Dakar, and Douala. It contributes to the ongoing debates around the globalization of fashion and fashion theory by exploring fashion as a genuine urban phenomenon on the continent and among its diasporas. To date, “fashion” and “city” have not been systematically related to each other in the African context and, for too long, a western-centric gaze has dominated scholarship, resulting in the perception of Africa as provincial and its visual arts and textile cultures as static and folkloristic. This perspective is all the more distorted, given Africa's rich sartorial past. With a huge number of tailors ready to adapt and renew clothing, reshaping garments into contemporary styles, and many cities in Africa becoming hot-spots for a steadily growing and well-connected scene of fashion designers in the past 20 years, the time is ripe for a reevaluation and reconsideration of the fashionscapes of Africa. Leading scholars offer an updated empirical and theoretical foundation on which to base new and exciting research on sub-Saharan fashion, challenging perceptions and offering new insights.

Chinua Achebe's influence on contemporary African literature is as much in evidence in his art of the novel as his theory of African literature and literary criticism. ISINKA (Igbo term for artistic purpose') establishes Achebe's legacy as a literary theorist and critic. In these essays scholars from around the globe assess and establish how much Achebe's extra-fictional ideas about African literature and literature in general are justified in his own creative works.'

Nadia Anwar analyzes selected post-independence Nigerian dramas using the conceptual framework of metatheatre, a theatrical strategy that foregrounds the process of play-making by breaking the dramatic illusion. She argues that distancing, as a function of metatheatre, creates a balanced theatrical experience and environment in terms of the emotive and cognitive levels of reception of a particular performance. Anwar's book is the first in-depth study to apply the concept of metatheatre to Nigerian drama. She brings the perspectives of Bertolt Brecht, Thomas J. Scheff, and other theoreticians of dramatic distancing to the analysis of plays by authors such as Wole Soyinka, Ola Rotimi, Femi Osofisan, Esiaba Irobi, and Stella ‘Dia Oyedepo.