Variously understood as literary genius and enfant terrible of African literature, Dambudzo Marechera's work as novelist, poet, playwright and essayist is discussed here in relation to other free-thinking writers. Considered one of Africa's most innovative and subversive writers, the Zimbabwean novelist, poet, playwright and essayist Dambudzo Marechera is read today as a significant voice in contemporary world literature. Marechera wrote ceaselessly against the status quo, against unqualified ideas, against expectation. He was an intellectual outsider who found comfort only in the company of other free-thinking writers - Shelley, Bakhtin, Apuleius, Fanon, Dostoyevsky, Tutuola. It is this universe of literary thought that one can see written into the fiction of Marechera that this collection of essays sets out to interrogate. In this important and timely contribution to African literarystudies, Grant Hamilton has gathered together essays of world-renowned, established, and young academics from Africa, Europe, Asia and Australia in order to discuss the important literary and philosophical influences that course through Marechera's prose, poetry and drama. From classical allusion to the political philosophy of anarchism, this collection of new research on Marechera's work makes clear the extraordinary breadth and quality of thought that Marechera brought to his writing. Grant Hamilton is Assistant Professor of English Literature at the Chinese University of Hong Kong. He is the author of On Representation: Deleuze and Coetzee on the Colonized Subject (Rodopi, 2011), as well as a number of articles on contemporary African, postcolonial, and world literatures. He is currently working on his second book, Deleuze and African Literature.

This explosive, award-winning novella of growing up in colonial Rhodesia (now Zimbabwe), told in exquisite, imaginative prose, touches the readers nerve through the authors harrowing portrait of lives disrupted by white settlers, a young disillusioned black man, and individual suffering in the 1960s and 1970s. Marecheras raw, piercing writings secured his place in African literature as a stylistic innovator and rebel commentator of the ghetto condition. While The House of Hunger is the centerpiece of this collection, readers are also treated to a series of short sketches in which Marechera, with angry humor, further navigates themes of madness, violence, despair, and survival.

In this dark and deeply radical novel, Dambudzo Marechera offers a visceral account of a photojournalist's entanglement with a terrorist organisation. In an unnamed totalitarian state, the members of Black Sunlight – a group of violent anarchists – are the only ones fighting for change and justice. As their actions push the country further towards chaos, journalist Christian records it all through the lens of his camera. Christian's life so far has been one of immense struggle and alienation. So when he becomes tangled in the Black Sunlight uprising, he is determined to remain a bystander and nothing more; to capture their actions without praise or condemnation. In evocative flashes of sex, violence, war, and myth, Christian's story explodes in a labyrinthine plot, told through a chaotic stream-of-consciousness that mirrors the nation's crumbling climate. Black Sunlight is a piercing insight into the darkness of the human psyche and a raw examination of a nation in battle against itself – where everything political turns deeply personal. 'Complex, challenging – and uniquely potent.' Guardian 'A writer in constant quest for his real self.' Wole Soyinka.

Regarded by some as mad and by others as a genius, Zimbabwean writer Dambudzo Marechera is today, ten years after his death, considered to be one of the most innovative writers that Africa has produced. This new book is a collection of critical essays devoted entirely to Marechera's work and includes contributions from academics in Zimbabwe, South Africa, Italy, Nigeria, Germany and the United Kingdom who show the complexity and variety of responses that Marechera's writing evokes.

Compelling memoir of Flora Veit-Wild and her relationship with the Zimbabwean novelist, poet, playwright, and essayist Dambudzo Marechera, one of Africa''s most innovative and subversive writers and a significant voice in contemporary world literature.How shall I tell our story? I hear your voice ringing in mine. I struggle to disentangle a dense tapestry of memories. One thread will be caught up in another. Early images will embrace later ones. My gaze will often be filtered through your eyes, your poems. In the end I will not always be able to tell the original from the reflection. Just as you wrote, Time''s fingers on the piano / play emotion into motion / the dancers in the looking glass never recognise us as their originals.This book is a memoir with a ''double heartbeat''. At its centre is the author''s relationship with the late Zimbabwean writer, Dambudzo Marechera, whose award-winning book The House of Hunger marked him as a powerful, disruptive, perhaps prophetic voice in African literature. Flora Veit-Wild is internationally recognised for her significant contribution to preserving Marechera''s legacy. What is less known about Marechera and Veit-Wild is that they had an intense, personal and sexual relationship. This memoir explores this: the couple''s first encounter in 1983, amidst the euphoria of the newly independent Zimbabwe; the tumultuous months when the homeless writer moved in with his lover and her family; the bouts of creativity once he had his own flat followed by feelings of abandonment; the increasing despair about a love affair that could not stand up against reality; and the illness of the writer and his death of HIV related pneumonia in August 1987. What follows are the struggles Flora went through once Dambudzo had died. On the one hand she became the custodian of his life and work, on the other she had to live with her own HIV infection and the ensuing threats to her health.Jacana: Southern Africaora Veit-Wild is internationally recognised for her significant contribution to preserving Marechera''s legacy. What is less known about Marechera and Veit-Wild is that they had an intense, personal and sexual relationship. This memoir explores this: the couple''s first encounter in 1983, amidst the euphoria of the newly independent Zimbabwe; the tumultuous months when the homeless writer moved in with his lover and her family; the bouts of creativity once he had his own flat followed by feelings of abandonment; the increasing despair about a love affair that could not stand up against reality; and the illness of the writer and his death of HIV related pneumonia in August 1987. What follows are the struggles Flora went through once Dambudzo had died. On the one hand she became the custodian of his life and work, on the other she had to live with her own HIV infection and the ensuing threats to her health.Jacana: Southern Africaora Veit-Wild is internationally recognised for her significant contribution to preserving Marechera''s legacy. What is less known about Marechera and Veit-Wild is that they had an intense, personal and sexual relationship. This memoir explores this: the couple''s first encounter in 1983, amidst the euphoria of the newly independent Zimbabwe; the tumultuous months when the homeless writer moved in with his lover and her family; the bouts of creativity once he had his own flat followed by feelings of abandonment; the increasing despair about a love affair that could not stand up against reality; and the illness of the writer and his death of HIV related pneumonia in August 1987. What follows are the struggles Flora went through once Dambudzo had died. On the one hand she became the custodian of his life and work, on the other she had to live with her own HIV infection and the ensuing threats to her health.Jacana: Southern Africaora Veit-Wild is internationally recognised for her significant contribution to preserving Marechera''s legacy. What is less known about Marechera and Veit-Wild is that they had an intense, personal and sexual relationship. This memoir explores this: the couple''s first encounter in 1983, amidst the euphoria of the newly independent Zimbabwe; the tumultuous months when the homeless writer moved in with his lover and her family; the bouts of creativity once he had his own flat followed by feelings of abandonment; the increasing despair about a love affair that could not stand up against reality; and the illness of the writer and his death of HIV related pneumonia in August 1987. What follows are the struggles Flora went through once Dambudzo had died. On the one hand she became the custodian of his life and work, on the other she had to live with her own HIV infection and the ensuing threats to her health.Jacana: Southern Africation to preserving Marechera''s legacy. What is less known about Marechera and Veit-Wild is that they had an intense, personal and sexual relationship. This memoir explores this: the couple''s first encounter in 1983, amidst the euphoria of the newly independent Zimbabwe; the tumultuous months when the homeless writer moved in with his lover and her family; the bouts of creativity once he had his own flat followed by feelings of abandonment; the increasing despair about a love affair that could not stand up against reality; and the illness of the writer and his death of HIV related pneumonia in August 1987. What follows are the struggles Flora went through once Dambudzo had died. On the one hand she became the custodian of his life and work, on the other she had to live with her own HIV infection and the ensuing threats to her health.Jacana: Southern Africa

Although perhaps best known as a novelist, many people consider that Marechera's real talent was as a poet. This is the first comprehensive collection of his poetry and contains more than 140 poems, many of which were retrieved after his death and are previously unpublished. The book also includes an interview with Marechera about his work.

This book seeks to unfold the complexity within the works of Dambudzo Marechera and presents scholars and readers with a way of reading his works in light of utopian thinking. Writing during a traumatic transitional period in Zimbabwe’s history, Marechera witnessed the upheavals caused by different parties battling for power in the nation. Aware of the fact that all institutionalized narratives – whether they originated from the colonial governance of the UK, Ian Smith’s white minority regime, or Zimbabwe’s revolutionary parties – appeal to visions of a utopian society but reveal themselves to be fiction, Marechera imagined a unique utopia. For Marechera, utopia is not a static entity but a moment of perpetual change. He rethinks utopia by phrasing it as an ongoing event that ceaselessly contests institutionalized narratives of the postcolonial self and its relationship to society. Marechera writes towards a vision of an alternative future for the country. Yet, it is a vision that does not constitute a fully rounded sense of utopia. Being cautious about the world and the operation of power upon the people, rather than imposing his own utopian ideals, Marechera chooses instead to destabilize the narrative constitution of the self in relation to society in order to turn towards a truly radical utopian thinking that empowers the individual.