Bringing together diverse voices, genres and intellectual trajectories, Gikandi and Schirmer attempt to reflect on the state of production of, and engagement with, Eastern African literary cultures. The book revisits established intellectual debates and canonical texts. It also offers a powerful engagement with popular arts and performance, particularly in the manner in which genres such as drama, music and new media offer important insights into everyday life in the region.

The Oxford Studies in Postcolonial Literatures series offers stimulating and accessible introductions to definitive topics and key genres and regions within the rapidly diversifying field of postcolonial literary studies in English. This volume offers an overview of contemporary Eastern African writing in English since the mid-twentieth century. It takes a fresh look at what has been an under-represented regional literary tradition within what continues to be an under-represented continental literary tradition. In particular, it broadens the scope of such an overview, complementing the extant monographs on well-known Eastern African writers such as Ngũgĩ to include a host of more recent, less-publicized novelists, dramatists, and poets. It extends the geographical range of existing studies from the familiar triad of Kenyan, Ugandan, and Tanzanian traditions of writing in English, to include the lesser-known Somali, Ethiopian, or Sudanese, or Mauritian or Madagascan traditions. Rather than simply addressing national traditions or broad thematic bundles, the volume treats works as literatures of a region: that is, as literatures of place and space. Eastern African Literatures stresses the formative role of space, place and geography in fashioning the fabric of social interaction, whether individual or collective, in generating history, in moulding identities, and as a consequence in defining the shape of the future. The 'spatial' perspectives allow the 'proximate' rather than the 'distant' influence of literary art to come into view. Proximate modes of literary communication, arising out of residual but vibrant traditions of oral communication, blend with contemporary media to produce hybrid genres of proximity specific to Eastern African literary production. In this way, the book also makes a contribution to the ongoing theorization of literary and cultural innovation in the cultures of the Global South.

Chinua Achebe's novels and essays have always drawn our attention to issues of memory, the story, history and our own obligation to history as Africans. Achebe constantly goes back to the authority of narrative - the story; and as the subsequent generations of African writers like Chimamanda Adichie keep returning to, to celebrate Africa's many stories, its moments of failure and triumph. Achebe, more than any other writer on this continent, has inspired many, and hopefully the African story tellers of the coming centuries, irrespective of their location will continue to be inspired by him. This collection of essays is an enduring tribute to this rich legacy of Achebe.

The book offers an overview of Eastern African writing in English since the mid-twentieth century. It shows how proximate modes of literary communication, arising out of residual but vibrant traditions of oral communication, blend with contemporary media to produce hybrid genres of proximity specific to Eastern African literary production.

A close analysis of Farah's novels is used to track the contradictions implicit in the notion of the modern, disengaged self and how transformations of the novel in literary history attempt to negotiate this founding contradiction.

Hollywood’s Africa after 1994 investigates Hollywood’s colonial film legacy in the postapartheid era, and contemplates what has changed in the West’s representations of Africa. How do we read twenty-first-century projections of human rights issues—child soldiers, genocide, the exploitation of the poor by multinational corporations, dictatorial rule, truth and reconciliation—within the contexts of celebrity humanitarianism, “new” military humanitarianism, and Western support for regime change in Africa and beyond? A number of films after 1994, such as Black Hawk Down, Hotel Rwanda, Blood Diamond, The Last King of Scotland, The Constant Gardener, Shake Hands with the Devil, Tears of the Sun, and District 9, construct explicit and implicit arguments about the effects of Western intervention in Africa. Do the emphases on human rights in the films offer a poignant expression of our shared humanity? Do they echo the colonial tropes of former “civilizing missions?” Or do human rights violations operate as yet another mine of sensational images for Hollywood’s spectacular storytelling? The volume provides analyses by academics and activists in the fields of African studies, English, film and media studies, international relations, and sociology across continents. This thoughtful and highly engaging book is a valuable resource for those who seek new and varied approaches to films about Africa. Contributors Harry Garuba and Natasha Himmelman Margaret R. Higonnet, with Ethel R. Higgonet Joyce B. Ashuntantang Kenneth W. Harrow Christopher Odhiambo Ricardo Guthrie Clifford T. Manlove Earl Conteh-Morgan Bennetta Jules-Rosette, J. R. Osborn, and Lea Marie Ruiz-Ade Christopher Garland Kimberly Nichele Brown Jane Bryce Iyunolu Osagie Dayna Oscherwitz

This collection explores the complexities of black existence, and intellectual and cultural life in the work and legacies of centenarian writers, Peter Abrahams, Noni Jabavu, Sibusiso Cyril Lincoln Nyembezi and Es’kia Mphahlele