Camara Laye (1928?80) traveled to France from his native Guinea in 1947 on a scholarship to study automobile mechanics. While there, he was encouraged by a supporterøof the French Union to record the memories of his childhood. The resulting book, L'Enfant noir, was praised for its style and its uncritical attitude toward French colonization. A year later Laye published Le Regard du roi, a Kafkaesque story of a white man in Africa, which was very different in tone, style, and content from L'Enfant noir and from any other African literature being published at the time. L'Enfant noir and Le Regard du roi became seminal works of African fiction in French and were translated into English as The African Child and The Radiance of the King. Adele King met Camara Laye in 1978, two years before his death, and in 1980 published the principal study about him, The Writings of Camara Laye. In 1991 King set out to disprove rumors that Laye was not the author of one of his novels, Le Regard du roi. Instead she became convinced that the rumors were true and in the process unexpectedly discovered a far more interesting story about the creation of Laye as an author and public figure. Rereading Camara Laye describes King's research, which has taken more than ten years. Her inquiry involved finding those who knew Laye in Paris in the 1950s and interviewing them when possible as well as examining documents in libraries and archives in France and Belgium. King's findings provide important insights into French publishing and colonial politics in the years following World War II. She also shows how interpretations of Laye's novels have been shaped by the assumption that they were written by an African.

Lavishly illustrated with exotic images ranging from Renoir's forgotten Algerian oeuvre to the abstract vision of Matisse's Morocco and beyond, this book is the first history of Orientalist art during the period of high modernism. Roger Benjamin, drawing on a decade of research in untapped archives, introduces many unfamiliar paintings, posters, miniatures, and panoramas and discovers an art movement closely bound to French colonial expansion. Orientalist Aesthetics approaches the visual culture of exoticism by ranging across the decorative arts, colonial museums, traveling scholarships, and art criticism in the Salons of Paris and Algiers. Benjamin's rediscovery of the important Society of French Orientalist Painters provides a critical context for understanding a lush body of work, including that of indigenous Algerian artists never before discussed in English. The painter-critic Eugène Fromentin tackled the unfamiliar atmospheric conditions of the desert, Etienne Dinet sought a more truthful mode of ethnographic painting by converting to Islam, and Mohammed Racim melded the Persian miniature with Western perspective. Benjamin considers armchair Orientalists concocting dreams from studio bric-à-brac, naturalists who spent years living in the oases of the Sahara, and Fauve and Cubist travelers who transposed the discoveries of the Parisian Salons to create decors of indigenous figures and tropical plants. The network that linked these artists with writers and museum curators was influenced by a complex web of tourism, rapid travel across the Mediterranean, and the march of modernity into a colonized culture. Orientalist Aesthetics shows how colonial policy affected aesthetics, how Europeans visualized cultural difference, and how indigenous artists in turn manipulated Western visual languages.

Written by award-winning African novelist Mariama Bâ and translated from the original French, So Long a Letter has been recognized as one of Africa’s 100 Best Books of the 20th Century. The brief narrative, written as an extended letter, is a sequence of reminiscences —some wistful, some bitter—recounted by recently widowed Senegalese schoolteacher Ramatoulaye Fall. Addressed to a lifelong friend, Aissatou, it is a record of Ramatoulaye’s emotional struggle for survival after her husband betrayed their marriage by taking a second wife. This semi-autobiographical account is a perceptive testimony to the plight of educated and articulate Muslim women. Angered by the traditions that allow polygyny, they inhabit a social milieu dominated by attitudes and values that deny them status equal to men. Ramatoulaye hopes for a world where the best of old customs and new freedom can be combined. Considered a classic of contemporary African women’s literature, So Long a Letter is a must-read for anyone interested in African literature and the passage from colonialism to modernism in a Muslim country. Winner of the prestigious Noma Award for Publishing in Africa.

Out of French-speaking Africa, from Togo, Chad, C–te d?Ivoire, Cameroon, Guinea, Congo, Rwanda, Djibouti, and Madagascar, comes the polyphony of newøvoices aired in this volume. The collection brings together fourteen important contemporary authors with roots in sub-Saharan French Africa and Madagascar, a new generation now living in France or the United States, and introduces their remarkable work to readers of English. These writers? stories, unlike earlier African literature, seldom resemble traditional folk tales. Instead they are concerned with the postindependence world and reveal in their rich and complex depths the influence of modern European and American short-story traditions as well as the enduring reach of African myths and legends. This gathering of gifted writers tenders modern versions of myths; nostalgia for childhood in Africa; relations between the sexes in contemporary Africa; continuing political problems; and the life of the African diaspora in France?all related in new and familiar ways, in innovative and traditional forms. Their work, most of it little known outside France and their native African countries, revises our understanding of the lingering effects of colonization even as it celebrates the complexity, exuberance, and tenacity of African culture.

Simon Gikandi provides critical analysis on the African novel.

Tierno Monänembo was among the African authors invited to Rwanda after the 1994 Tutsi-Hutu massacre to ?write genocide into memory.? In his novel The Oldest Orphan, that is precisely what Monänembo does, to devastating effect. Powerful testimony to an unspeakable historical reality, this story is told by an adolescent on death row in a prison in Kigali, the capital of Rwanda. Dispassionately, almost cynically, the teenager Faustin tells his tale, alternating between his days in jail, his adventures wandering the countryside after his parents and most of the people of his village have been massacred, and his escapades as a cheerful hoodlum in the streets of Kigali. Only slowly does the full horror of his parents? death and his own experience return to Faustin. His realization strikes the reader with shattering force, for it carries in its wake the impossible but inescapable questions presented by such a murderous episode of history and such a crippling experience for a child, a people, and a nation.