What is the African novel, and how should it be taught? The twenty-three essays of this volume address these two questions and in the process convey a wealth of information and ideas about the diverse regions, peoples, nations, languages, and writers of the African continent. Topics include Ngũgĩ wa Thiong'o's favoring of indigenous languages and literary traditions over European; the special place of Marxism in African letters;the influence of Frantz Fanon; women writers and the sub-Saharan novel;the Maghrebian novel;the novel and the griot epic in the Sahel;Islam in the West African novel;novels in Spanish from Equatorial Guinea;apartheid and postapartheid fiction;African writers in the diaspora;globalization in East African fiction; teaching Chinua Achebe's Things Fall Apart to students in different countries;the Onitsha market romance. The volume editor, Gaurav Desai, writes, "The point of the volume is to encourage a reading of Africa that is sensitive to its history of colonization but at the same time responsive to its present multiracial and multicultural condition."

Teaching English in Africa is a practical guide written for primary and secondary school teachers working all over the continent. This book relates the practice of English language teaching directly to the African context. As well as covering the underlying theory of how children learn languages and how teachers can best facilitate this learning, it also provides practical resources and ideas for activities and techniques that have proved successful in English classrooms in Africa, both at primary and secondary level. It is intended to be a practical guide, so references and citations are kept to a minimum and concepts are presented using examples that are likely to be familiar to most teachers working in Africa. If there is a bias in this book, it is towards the needs of teachers working in low-resource, isolated contexts in Africa, as these teachers are so often neglected by literature on teaching methodology.

Ruth Finnegan's Oral Literature in Africa was first published in 1970, and since then has been widely praised as one of the most important books in its field. Based on years of fieldwork, the study traces the history of storytelling across the continent of Africa. This revised edition makes Finnegan's ground-breaking research available to the next generation of scholars. It includes a new introduction, additional images and an updated bibliography, as well as its original chapters on poetry, prose, "drum language" and drama, and an overview of the social, linguistic and historical background of oral literature in Africa. This book is the first volume in the World Oral Literature Series, an ongoing collaboration between OBP and World Oral Literature Project. A free online archive of recordings and photographs that Finnegan made during her fieldwork in the late 1960s is hosted by the World Oral Literature Project (http: //www.oralliterature.org/collections/rfinnegan001.html) and can also be accessed from publisher's website.

“A valuable resource [with] useful ideas about how to . . . enhance student engagement with the continent, and expand Africa’s presence within the curriculum.” —Stephen Volz, Kenyon College Teaching Africa introduces innovative strategies for teaching about Africa. The contributors address misperceptions about Africa and Africans, incorporate the latest technologies of teaching and learning, and give practical advice for creating successful lesson plans, classroom activities, and study abroad programs. Teachers in the humanities, sciences, and social sciences will find helpful hints and tips on how to bridge the knowledge gap and motivate understanding of Africa in a globalizing world.

A "geadl" or hagiography, originally written by Gealawdewos thirty years after the subject's death, in 1672-1673. Translated from multiple manuscripts and versions.

Engaging questions of language, identity, and reception to restore South African and diaspora writing to the African literary tradition

Ngugi wrote his first novels and plays in English but was determined, even before his detention without trial in 1978, to move to writing in Gikuyu.