This book provides the first comprehensive survey and collection of Nigerian diaspora literature, offering readings of novelists such as Chimamanda Ngozi Adichie, Sefi Atta, Helon Habila, Helen Oyeyemi, Taiye Selasi, Chika Unigwe, Chris Abani, and Ike Oguine. As members of the new African diaspora, their literature captures experiences of recent Nigerian migration to the United States and the United Kingdom. Examining representative novels, such as Adichie’s Half of a Yellow Sun and Americanah, Habila’s Waiting for an Angel, Abani’s GraceLand, and Oyeyemi’s The Icarus Girl, the book discusses these novels’ literary and narrative methods and provides detailed analyses of two of the most common themes: depictions of migratory experiences and representations of Nigeria. Placing the novels in their relevant historical, sociological, philosophical, and theoretical contexts, Narrating the New African Diaspora presents an insightful study of current anglophone Nigerian narrative literature.

The New York Times reports that since 1990 more Africans have voluntarily relocated to the United States and Canada than had been forcibly brought here before the slave trade ended in 1807. The key reason for these migrations has been the collapse of social, political, economic, and educational structures in their home countries, which has driven Africans to seek security and self-realization in the West. This lively and timely collection of essays takes a look at the new immigrant experience. It traces the immigrants' progress from expatriation to arrival and covers the successes as well as problems they have encountered as they establish their lives in a new country. The contributors, most immigrants themselves, use their firsthand experiences to add clarity, honesty, and sensitivity to their discussions of the new African diaspora.

In the increasingly multi-racial and multi-ethnic American landscape of the present, understanding and bridging dynamic cross-cultural conversations about social and political concerns becomes a complicated humanistic project. How do everyday embodied experiences transform from being anecdotal to having social and political significance? What can the experience of corporeality offer social and political discourse? And, how does that discourse change when those bodies belong to Arab Americans and African Americans? Therí A. Pickens discusses a range of literary, cultural, and archival material where narratives emphasize embodied experience to examine how these experiences constitute Arab Americans and African Americans as social and political subjects. Pickens argues that Arab American and African American narratives rely on the body’s fragility, rather than its exceptional strength or emotion, to create urgent social and political critiques. The creators of these narratives find potential in mundane experiences such as breathing, touch, illness, pain, and death. Each chapter in this book focuses on one of these everyday embodied experiences and examines how authors mobilize that fragility to create social and political commentary. Pickens discusses how the authors' focus on quotidian experiences complicates their critiques of the nation state, domestic and international politics, exile, cultural mores, and the medical establishment. New Body Politics participates in a vibrant interdisciplinary conversation about cross-ethnic studies, American literature, and Arab American literature. Using intercultural analysis, Pickens explores issues of the body and representation that will be relevant to fields as varied as Political Science, African American Studies, Arab American Studies, and Disability Studies.

Everything Good Will Come introduces an important new voice in contemporary fiction. With insight and a lyrical wisdom, Nigerian-born Sefi Atta has written a powerful and eloquent story set in her African homeland. It is 1971, a year after the Biafran War, and Nigeria is under military rule—though the politics of the state matter less than those of her home to Enitan Taiwo, an eleven-year-old girl tired of waiting for school to start. Will her mother, who has become deeply religious since the death of Enitan’s brother, allow her friendship with the new girl next door, the brash and beautiful Sheri Bakare? This novel charts the fate of these two African girls; one who is prepared to manipulate the traditional system and one who attempts to defy it. Written in the voice of Enitan, the novel traces this unusual friendship into their adult lives, against the backdrop of tragedy, family strife, and a war-torn Nigeria. In the end, Everything Good Will Come is Enitan’s story; one of a fiercely intelligent, strong young woman coming of age in a culture that still insists on feminine submission. Enitan bucks the familial and political systems until she is confronted with the one desire too precious to forfeit in the name of personal freedom: her desire for a child. Everything Good Will Come evokes the sights and smells of Africa while imparting a wise and universal story of love, friendship, prejudice, survival, politics, and the cost of divided loyalties.

Contributions by Cécile Accilien, Maria Rice Bellamy, Gwen Bergner, Olga Blomgren, Maia L. Butler, Isabel Caldeira, Nadège T. Clitandre, Thadious M. Davis, Joanna Davis-McElligatt, Laura Dawkins, Megan Feifer, Delphine Gras, Akia Jackson, Tammie Jenkins, Shewonda Leger, Jennifer M. Lozano, Marion Christina Rohrleitner, Thomás Rothe, Erika V. Serrato, Lucía Stecher, and Joyce White Narrating History, Home, and Dyaspora: Critical Essays on Edwidge Danticat contains fifteen essays addressing how Edwidge Danticat’s writing, anthologizing, and storytelling trace, (re)construct, and develop alternate histories, narratives of nation building, and conceptions of home and belonging. The prolific Danticat is renowned for novels, collections of short fiction, nonfiction, and editorial writing. As her experimentation in form expands, so does her force as a public intellectual. Danticat’s literary representations, political commentary, and personal activism have proven vital to classroom and community work imagining radical futures. Among increasing anti-immigrant sentiment and containment and rampant ecological volatility, Danticat’s contributions to public discourse, art, and culture deserve sustained critical attention. These essays offer essential perspectives to scholars, public intellectuals, and students interested in African diasporic, Haitian, Caribbean, and transnational American literary studies. This collection frames Danticat’s work as an indictment of statelessness, racialized and gendered state violence, and the persistence of political and economic margins. The first section of this volume, “The Other Side of the Water,” engages with Danticat’s construction and negotiation of nation, both in Haiti and the United States; the broader dyaspora; and her own, her family’s, and her fictional characters’ places within them. The second section, “Welcoming Ghosts,” delves into the ever-present specter of history and memory, prominent themes found throughout Danticat’s work. From origin stories to broader Haitian histories, this section addresses the underlying traumas involved when remembering the past and its relationship to the present. The third section, “I Speak Out,” explores the imperative to speak, paying particular attention to the narrative form with which such telling occurs. The fourth and final section, “Create Dangerously,” contends with Haitians’ activism, community building, and the political and ecological climate of Haiti and its dyaspora.

It is by telling the stories of their lives that black writers--from the authors of nineteenth-century slave narratives to contemporary novelists--affirm and legitimize their psychological autonomy. So Valerie Smith argues in this perceptive exploration of the relationship between autobiography and fiction in Afro-American writing. Smith sees the processes of plot construction and characterization as providing these narrators with a measure of authority unknown in their lives. Focusing on autobiographies by Olaudah Equiano, Frederick Douglass, and Harriet Jacobs and the fiction of James Weldon Johnson, Richard Wright, Ralph Ellison, and Toni Morrison, she demonstrates the ways in which the act of narrating constitutes an act of self-fashioning that must be understood in the context of the Afro-American experience. Hers is a fertile investigation, attuned to the differences in male and female sensibilities, and attentive to the importance of oral traditions.

The swelling flows of migration from Africa towards Europe have aroused interest not only in the socio-political consequences of the migrants' insistent appeals to 'fortress Europe' but also in the artistic integration of African migrants into the cultural world of Europe. While in recent years the creative output of Africans living in Europe has received attention from the media and in academia, little critical consideration has been given to African migrants' modes of narration and the manner in which these modes give expression to, or are an expression of, their creators' transcultural realities. Transcultural Modernities: Narrating Africa in Europe responds to this need for reflection by examining the manner in which migrants compose and negotiate their Euro-African affiliations in their narratives. The book brings together scholars in the fields of literary and art criticism, cultural studies, and anthropology for an extensive interdisciplinary exchange on the specific modes of narration displayed in Euro-African literatures, the visual arts, and cinema, as well as offering ethnographic case studies. The result is a wide range of reflections on how African artists, writers, and ordinary people living in Europe experience and explore their transcultural and/or postcolonial environments, and how their experiences and explorations in turn contribute to the construction of modern Euro-African life-worlds.