This book, first published in 1983, was the first detailed study of the Xhosa oral poetry tradition.

Xhosa oral poetry has defied the threats to its integrity over two centuries, to take its place in a free South Africa. This volume establishes the background to this poetic re-emergence, preserving and transmitting the voice of the Xhosa poet.

‘In The Bones of The Ancestors Are Shaking, Russell Kaschula provides an ample introduction to the subject of oral poetry, both drawing on earlier accounts and presenting his own material, much of which has hitherto been unavailable in book form. Kaschula presents rich texts and translations of the Xhosa praise poetry for which southern Africa has long been famous, not only in the context of studies of African oral literature, but also among comparative scholars of world literature. The texts and translations in this book are a valuable and attractive addition to the record, ranging as they do from nineteenth-century examples to late twentieth-century praises for Joe Slovo, F.W. de Klerk, the South African soccer squad or Nelson Mandela, the latter being a special focus of the volume.’ — Professor Ruth Finnegan, The Open University, UK

The South African literature of iimbongi, the oral poets of the amaXhosa people, has long shaped understandings of landscape and history and offered a forum for grappling with change. Of Land, Bones, and Money examines the shifting role of these poets in South African society and the ways in which they have helped inform responses to segregation, apartheid, the injustices of extractive capitalism, and contemporary politics in South Africa. Emily McGiffin first discusses the history of the amaXhosa people and the environment of their homelands before moving on to the arrival of the British, who began a relentless campaign annexing land and resources in the region. Drawing on scholarship in the fields of human geography, political ecology, and postcolonial ecocriticism, she considers isiXhosa poetry in translation within its cultural, historical, and environmental contexts, investigating how these poems struggle with the arrival and expansion of the exploitation of natural resources in South Africa and the entrenchment of profoundly racist politics that the process entailed. In contemporary South Africa, iimbongi remain a respected source of knowledge and cultural identity. Their ongoing practice of producing complex, spiritually rich literature continues to have a profound social effect, contributing directly to the healing and well-being of their audiences, to political transformation, and to environmental justice.

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.

Xhosa Literature consists of fourteen essays addressing Xhosa literature in three media-the spoken word, newspapers, and books. Literary critics tend to focus on Xhosa literature published in books with some attention paid to Xhosa oral poetry and tales, but by and large the contribution of newspapers to the development of Xhosa literature has been overlooked. This book explores aspects of Xhosa literature in all three media, and their interconnections. Six of the essays treat historical narratives (amabali) and praise poetry (izibongo), setting out the social and ritual function of poetry and the poet (imbongi), mapping changes in the izibongo of three poets as South Africa moved towards democracy in the 1990s, and analyzing recordings of two poems recited by S.E.K. Mqhayi. Three essays are devoted to the first Xhosa novel, Mqhayi's U-Samson (1907), to the publication of the greatest novel in Xhosa, A.C. Jordan's Ingqumbo yeminyanya (1940), and to the first published poem in praise of Nelson Mandela, D.L.P. Yali-Manisi's 'UNkosi Rolihlahla Nelson Mandela' (1954). There follow accounts of Xhosa literature in the nineteenth century and the appropriation of the press by Xhosa editors towards the end of that century, of Nontsizi Mgqwetho's fiery poetry published in Umteteli wa Bantu, and of poems by Mgqwetho and Mqhayi published in Abantu-Batho, two Johannesburg newspapers. The volume concludes with an exposition of an imaginative response to David Yali-Manisi and his poetry. (Series: Publications of the Opland Collection of Xhosa Literature, Vol. 6) [Subject: African Studies, Politics, Sociology, Xhosa Literature]

One of South Africa’s greatest living poets selects from her most recent poems and also from the poems and the themes that best represent her from across her long career. Part One of Skinned contains poems about writing, family and love poems. The poems in second part were chosen from a volume featuring a long epic poem based on the life of Lady Anne Barnard from Scotland, who accompanied her husband to Cape Town and lived in the castle there from 1797 until 1802. This volume was written during the height of apartheid and the poet chose Lady Anne as representative of the colonial vision. Part Three contains extracts from several speakers who lived in the land before the likes of lady Anne arrived. Krog includes here interviews with inhabitants of the stone desert, three re-workings of Bushmen or Xam narratives, as well as a translation of an oral Xhosa praise poem. Part Four represents the political turmoil of South Africa and the divisions within Africa. The poems come from volumes that explored how blacks and whites identifying with the oppressed were removed from official history. The present volume as a whole explores the necessity of "a change of tongue" in order to be.