This introductory survey provides a rich understanding of the African experience which, until recently, either had been omitted from the curriculum of institutions of higher learning or was distorted in written and oral literature. The book identifies the post-World War II civil rights movement in America and the independence revolution in Africa as the most decisive forces that generated interest in the study of the African/black experience. Includes four theoretical models for interpreting the black experience. The author discusses the place and role of Africa in the development of human civilization, focusing on Africa's Nile Valley civilizations and Western Sudanic empires. It probes aspects of traditional African culture, including the family, traditional political institutions and religion, and analyzes the impact on Africa and its peoples of such historical traumas as slavery, colonialism, and decolonization.

Why Africa? an abstract first painted in 1993 and reproduced in collage in 2004, is variously described by his admirers as an emotional revelation. The work depicts the African question problems and prospects including political instability, corruption, and poverty in the midst of rich natural and human resources. Thus, Why Africa? inspired him to write a book on the subject, applying his creativity with a unique perspective on the African case. Bona has written one book (unpublished) titled: The Ancient and Modern (1992) a story on Urualla, his ancestral origin in Nigeria.

Hewitt (Spanish and Portuguese, Pennsylvania State U.) explores the representation of Africa and "Afro-Caribbean-ness" in Spanish Caribbean literature of the 20th century. Her main argument "is that the literary representation of Africa and "Africanness," meaning practices, belief systems, music, art, myths, popular knowledge, in Spanish-speaking Caribbean societies, constructs a self-referential discourse in which Africa and African "things" shift to a Caribbean landscape as the site of the (M)Other." Or, in other words, these representations imaginatively rescue and simultaneously construct a "Caribbean cultural imaginary conceived as the Other within that associates Africa with a cultural womb." Among the texts she explores are Fernando Ortiz's interpretations of the "Black Carnival" in Cuba, the early Afro-Cuban poems of Alejo Carpentier, the Afro-Cuban stories of Lydia Cabrera, a number of literary representations of the figure of the runaway slave, and two works by Puerto Rican novelist Edgardo Rodiguez Julia.

The latest work from Harold Scheub, one of the world's leading scholars of African folktales, is the broadest collection yet assembled with tales from the entire continent of Africa, north to south. It brings together mythic, fantastic, and coming-of-age tales, some transcribed more than a hundred years ago, others dating to modern-day Africa. Scheub includes the work of storytellers from major African language groups, as well as many storytellers whose work is not often heard outside of Africa. This anthology offers a classroom-ready collection that should appeal to any scholar of African literature and culture. Realizing that these tales are part of a dying art, Scheub writes for the inner ear in everyone, bringing an oral tradition to life in written form.

First published in 1997, this volume sets out to open a dialogue with the trade union movement and its social partners including civil society, political leaders and the scientific community. The authors, all of whom work closely with APADEP, have drawn on their personal experience and have been guided by a simple, yet flexible, theme: trends in the last few decades in their countries, with the emphasis on transition over the last five years. Part I consists of an overview of sub-Saharan Africa based on selected documentation. Part II is given over to an analysis of the specific situations obtaining in ten African countries in different geographical and language areas. Each case study provides its own democratisation scenario.