"Matthew is nicknamed ""Prettyboy"", forced by circumstances to leave his shanty home to live with well-off family friends at the coast in Kenya. Life at the coastal town bustles with fast living, excitement, hopes, fears, danger, and illusions of the good life. But behind all this, tragedy lurks. The novel is one of a series developed to advance written and spoken English amongst lower secondary school students."

Roy Shaw is the ultimate hardman, he has a cult status and commands a respect that few, even in the violent world he moves in, can equal. He was the original Guv'nor, and the great rival of Lenny McLean. Roy's words speak for themselves: I'm Roy Shaw. Maybe my name means nothing to you. Why should it? I'm no actor, no showman, no wannabe celebrity. I'm not loud or brash and I don't huff or puff or growl at anyone, but I live by a merciless code. For me violence is simply an accepted part of my profession - the profession of violence. I don't exaggerate the violence I have inflicted. I can't excuse it and I certainly won't apologise for it. If that makes me the devil, then the devil I am - I haven't got horns sticking out of my head or cloven hooves and a tail, but if you're unlucky enough to have me coming after you then beware - "cos hell's coming with me.

Fictions written between 1939 and 2005 by indigenous and white (post)colonial women writers emerging from an African–European cultural experience form the focus of this study. Their voyages into the European diasporic space in Africa are important for conveying how African women’s literature is situated in relation to colonialism. Notwithstanding the centrality of African literature in the new postcolonial literatures in English, the accomplishments of the indigenous writer Grace Ogot have been eclipsed by the critical attention given to her male counterparts, while Elspeth Huxley, Barbara Kimenye, and Marjorie Oludhe Macgoye, who are of Western cultural provenance but adopt an African perspective, are not accommodated by the genre of ‘expatriate literature’. The present study of both indigenous and white (post)colonial women’s narratives that are common to both categories fills this gap. Focused on the representation of gender, identity, culture, and the ‘Other’, the texts selected are set in Kenya and Uganda, and a main concern is with the extent to which they are influenced by setting and intercultural influences. The ‘African’ woman’s creation of textuality is at once the expression of female individualities and a transgression of boundaries. The particular category of fiction for children as written by Kimenye and Macgoye reveals the configuration of a voice and identity for the female ‘Other’ and writer which enables a subversive renegotiation of identity in the face of patriarchal traditions.

THE EPIC LIFE OF PRETTY BOY FLOYD Charles Pretty Boy Floyd became the FBI's most wanted man in America. A depression era young man out of the Oklahoma Hill country decided he no longer wanted to work as a field hand and common laborer. Everywhere in the Dirty 30s, men, and in one case, women (Bonnie Parker) had decided to use a gun to get what they wanted, and so did Charley. His first real job was that of robbing the Kroger Company Payroll Office where one of the women there described him as being "Just a mere boy—a pretty boy." The name stuck and from then on that is what the newspapers called him. His good looks didn't hurt with the ladies either and he ended up with both a wife and girlfriend clear up to the time of his death. FBI Director J. Edgar Hoover had a personal vendetta against what he considered the scourge of the land and set his main Agent, Melvin Purvis to take down the most notorious of them, beginning with Johnny Dillinger who was ambushed outside the Biograph Theater in Chicago, thus moving Pretty Boy to the top of the list.

The Columbia Guide to East African Literature in English Since 1945 challenges the conventional belief that the English-language literary traditions of East Africa are restricted to the former British colonies of Kenya, Uganda, and Tanzania. Instead, these traditions stretch far into such neighboring countries as Somalia and Ethiopia. Simon Gikandi and Evan Mwangi assemble a truly inclusive list of major writers and trends. They begin with a chronology of key historical events and an overview of the emergence and transformation of literary culture in the region. Then they provide an alphabetical list of major writers and brief descriptions of their concerns and achievements. Some of the writers discussed include the Kenyan novelists Grace Ogot and Ngugi wa Thiong'o, Ugandan poet and essayist Taban Lo Liyong, Ethiopian playwright and poet Tsegaye Gabre-Medhin, Tanzanian novelist and diplomat Peter Palangyo, Ethiopian novelist Berhane Mariam Sahle-Sellassie, and the novelist M. G. Vassanji, who portrays the Indian diaspora in Africa, Europe, and North America. Separate entries within this list describe thematic concerns, such as colonialism, decolonization, the black aesthetic, and the language question; the growth of genres like autobiography and popular literature; important movements like cultural nationalism and feminism; and the impact of major forces such as AIDS/HIV, Christian missions, and urbanization. Comprehensive and richly detailed, this guide offers a fresh perspective on the role of East Africa in the development of African and world literature in English and a new understanding of the historical, cultural, and geopolitical boundaries of the region.

Toma Tomei had nine daughters, but wants a son so that he can become Chief Councillor and leader of his peoples. His political rival Old Jonah opposes his ambition, and consults a witchdoctor to try and ensure Toma will never beget a son. When Toma's wife gives birth to a baby boy however, it seems his plotting has failed. But then, the boys' looks suggest Toma may not be the father after all...

This edited book brings together scholarly chapters on linguistic aspects of humour in literary and non-literary domains and contexts in different parts of the world. Previous scholarly engagements and theoretical postulations on humour and the comic provide veritable resources for reexamining the relationship between linguistic elements and comic sensations on the one hand, and the validity of interpretive humour stylistics on the other hand. Renowned Stylistics scholars, such as Michael Toolan, who writes the volume’s foreword against the backdrop of nearly four decades of scholarly engagement with stylistics, and Katie Wales, who in this volume engages with Charles Dickens, one of the most eminent satirists in English literature, as well as many other European and African authors who have worked ceaselessly in the area of humour and language, weigh in on the topic of language and humour in this volume. Together, they provide a variety of interesting perspectives on the topic, deploying different textual sources from different media and from different regions of the world. Part of the book’s offering includes integrative stylistic approaches to humour in African, European and American written texts, examinations of social media and political humour in Nigeria, Cameroon and Zimbabwe, pragmatics and humorous stance-taking, incongruity as comedy in works of fiction, and a unified levels of linguistic analysis approach to the investigation of humour. This book will be of interest to academics and students of Linguistics, Stylistics, Communications and Media Studies, and Humour Studies. Taiwo Oloruntoba-Oju is a Professor in the Department of English at the University of Ilorin in Nigeria