A Companion To Mia Couto

Already well-established in the Lusophone world, Mia Couto is increasingly acknowledged as a major voice in World literature. Winner of the Camões Prize for Literature in 2013, the most prestigious literary prize honouring Lusophone writers, he was awarded the Neustadt International Prize for Literature in 2014, and in 2015 was shortlisted for the Man Booker International Prize. Yet, despite this high profile there are very few full-length critical studiesin English about his writing. Mia Couto is known for his imaginative re-working of Portuguese, making it distinctively Mozambican in character. This book brings together some of the key scholars of his work such as Phillip Rothwell, Luís Madureira, and his long-time English translator David Brookshaw. Contributors examine not only his early works, which were written in the context of the 16-year post-independence civil war in Mozambique, but alsothe wide span of Couto's contemporary writing as a novelist, short story writer, poet and essayist. There are contributions on his work in ecology, theatre and journalism, as well as on translation and Mozambican nationalist politics. Most importantly the contributors engage with the significance of Couto's writing to contemporary discussions of African literature, Lusophone studies and World literature. Grant Hamilton is Associate Professor of English literature at the Chinese University of Hong Kong. He is the editor of Reading Marechera (James Currey, 2013). David Huddart is Associate Professor of English literature at the Chinese University of Hong Kongand is author of Involuntary Associations: World Englishes and Postcolonial Studies (Liverpool University Press, 2014]

"On almost every page of this witty magical realist whodunit, we sense Couto's delight on those places where language slips officialdom's asphyxiating grasp."--The New York Times Book Review on The Last Flight of the Flamingo "The most prominent of the younger generation of writers in Portuguese-speaking Africa, Couto passionately and sensitively describes everyday life in poverty-stricken Mozambique."--Guardian (London) "Quite unlike anything else I have read from Africa."--Doris Lessing As the civil war rages in 1980s Mozambique, an old man and a young boy, refugees from the war, seek shelter in a burnt-out bus. Among the effects of a dead passenger, they come across a set of notebooks that tell of his life. As the boy reads the story to his elderly companion, this story and their own develop in tandem. Written in 1992, Mia Couto's first novel is a powerful indictment of the suffering war brings. Born in 1955 in Mozambique, Mia Couto ran the AIM news agency during the revolutionary struggle. He now lives in Maputo where he works as an environmental biologist and heads the Mozambique side of the Limpopo Transnational Park. In 2007 he was the first African author to win the Latin Union Award for Romance Languages; in 2013 he was awarded the 100,000 Camoes Prize for Literature, in recognition of his life's work. In 2014 he received the $50,000 Neustadt Prize for Literature, and in 2015 he was shortlisted for the Man Booker International Prize.

"One of the greatest living writers in the Portuguese language."—Philip Graham, The Millions "Subtle and elegant."—The Wall Street Journal "At once deadpan and beguiling."—The Times Literary Supplement "To understand what makes António 'Mia' Emílio Leite Couto special—even extraordinary—we have to loosen our grip on the binary that distinguishes between 'the West' and 'Africa.' Couto is 'white' without not being African, and as an 'African' writer he's one of the most important figures in a global Lusophone literature that stretches across three continents."—The New Inquiry What would Barack Obama's 2004 campaign have looked like if it unfolded in an African nation? What does it mean to be an African writer today? How do writers and poets from all continents teach us to cross the sertão, the savannah, the barren places where we're forced to walk within ourselves? Bringing together the best pieces from his previously untranslated nonfiction collections, alongside new material presented here for the first time in any language, Pensativities offers English readers a taste of Mia Couto as essayist, lecturer, and journalist—with essays on cosmopolitanism, poverty, culture gaps, conservation, and more. Mia Couto, an environmental biologist from Mozambique, is the author of twenty five books of fiction, nonfiction, and poetry. His work has been translated into twenty languages worldwide. In 2007 he was the first African author to win the Latin Union Award for Romance Languages, in 2013 he was awarded the €100,000 Camões Prize for Literature, and in 2014 he received World Literature Today's $50,000 Neustadt Prize for Literature.

Bringing together decolonial, Romantic and global literature perspectives, Transcultural Ecocriticism explores innovative new directions for the field of environmental literary studies. By examining these literatures across a range of geographical locations and historical periods – from Romantic period travel writing to Chinese science fiction and Aboriginal Australian poetry – the book makes a compelling case for the need for ecocriticism to competently translate between Indigenous and non-Indigenous, planetary and local, and contemporary and pre-modern perspectives. Leading scholars from Australasia and North America explore links between Indigenous knowledges, Romanticism, globalisation, avant-garde poetics and critical theory in order to chart tensions as well as affinities between these discourses in a variety of genres of environmental representation, including science fiction, poetry, colonial natural history and oral narrative.

A RADIO FRANCE-CULTURE/TÉLÉRAMA BEST WORK OF FICTION BY THE WINNER OF THE 2013 CAMÕES PRIZE AND THE WINNER OF THE 2014 NEUSTADT PRIZE “Quite unlike anything else I have read from Africa.""—Doris Lessing “By meshing the richness of African beliefs . . . into the Western framework of the novel, he creates a mysterious and surreal epic.”—Henning Mankell Mwanito was eleven when he saw a woman for the first time, and the sight so surprised him he burst into tears. Mwanito has been living in a former big-game park for eight years. The only people he knows are his father, his brother, an uncle, and a servant. He’s been told that the rest of the world is dead, that all roads are sad, that they wait for an apology from God. In the place his father calls Jezoosalem, Mwanito has been told that crying and praying are the same thing. Both, it seems, are forbidden. The eighth novel by the internationally bestselling Mia Couto, The Tuner of Silences is the story of Mwanito’s struggle to reconstruct a family history that his father is unable to discuss. With the young woman’s arrival in Jezoosalem, however, the silence of the past quickly breaks down, and both his father’s story and the world are heard once more. The Tuner of Silences has been published to acclaim in more than half a dozen countries. Now in its first English translation, this story of an African boy's quest for the truth endures as a magical, humanizing confrontation between one child and the legacy of war. PRAISE FOR MIA COUTO “On almost every page … we sense Couto’s delight in those places where language slips officialdom’s asphyxiating grasp.”—The New York Times "Even in translation, his prose is suffused with striking images.”—The Washington Post PRAISE FOR DAVID BROOKSHAW "David Brookshaw dexterously renders the novel's often colloquial, pithy Portuguese into lively English. Brookshaw's task is made more exacting by the particular quality of Couto's brilliance.”—The New York Times

Now a firmly established part of world literature course offerings in many general education curricula, African literature is no longer housed exclusively with African Studies programs, and is often studied in English, French, Portuguese, Women's Studies, and Comparative Studies departments. This book helps fill the great need for research materials on this topic, presenting the best resources available for 300 African writers. These writers have been carefully selected to include both well-known writers and those less commonly studied yet highly influential. They are drawn from both the Sub-Sahara and the Maghreb, the major geographical regions of Africa. The study of Africa was introduced into the curriculum of institutions of higher learning in the United States in the 1960s, when the Black Consciousness movement in the United States and the Cold War and decolonization movements in Africa created a need for the systematic study of other regions of the world. Between 1986 and 1991, three Africans won Nobel literature prizes: Soyinka, Mahfouz, and Gordimer, and the visibility of African writers increased. They are now a firmly established part of world literature courses in many general education curricula throughout North America. African Writers is meant to serve as a resource for introductory material on 300 writers from 39 countries. These writers were selected on the basis on two criteria: that there is material on them in an easily available reference work; and that there is some information of research value on free Web sites. Each writer is from the late-19th or 20th century, with the notable exception of Olaudah Equiano, an 18th-century African whose slave narrative is generally considered the first work of African literature. All entries are annotated.

Rediscover the diversity of modern African literatures with this authoritative resource edited by a leader in the field How have African literatures unfolded in their rich diversity in our modern era of decolonization, nationalisms, and extensive transnational movement of peoples? How have African writers engaged urgent questions regarding race, nation, ethnicity, gender, and sexuality? And how do African literary genres interrelate with traditional oral forms or audio-visual and digital media? A Companion to African Literatures addresses these issues and many more. Consisting of essays by distinguished scholars and emerging leaders in the field, this book offers rigorous, deeply engaging discussions of African literatures on the continent and in diaspora. It covers the four main geographical regions (East and Central Africa, North Africa, Southern Africa, and West Africa), presenting ample material to learn from and think with. A Companion To African Literatures is divided into five parts. The first four cover different regions of the continent, while the fifth part considers conceptual issues and newer directions of inquiry. Chapters focus on literatures in European languages officially used in Africa -- English, French, and Portuguese -- as well as homegrown African languages: Afrikaans, Amharic, Arabic, Swahili, and Yoruba. With its lineup of lucid and authoritative analyses, readers will find in A Companion to African Literatures a distinctive, rewarding academic resource. Perfect for undergraduate and graduate students in literary studies programs with an African focus, A Companion to African Literatures will also earn a place in the libraries of teachers, researchers, and professors who wish to strengthen their background in the study of African literatures.

A dark, poetic mystery about the women of the remote village of Kulumani and the lionesses that hunt them Told through two haunting, interwoven diaries, Mia Couto's Confession of the Lioness reveals the mysterious world of Kulumani, an isolated village in Mozambique whose traditions and beliefs are threatened when ghostlike lionesses begin hunting the women who live there. Mariamar, a woman whose sister was killed in a lioness attack, finds her life thrown into chaos when the outsider Archangel Bullseye, the marksman hired to kill the lionesses, arrives at the request of the village elders. Mariamar's father imprisons her in her home, where she relives painful memories of past abuse and hopes to be rescued by Archangel. Meanwhile, Archangel tracks the lionesses in the wilderness, but when he begins to suspect there is more to them than meets the eye, he starts to lose control of his hands. The hunt grows more dangerous, until it's no safer inside Kulumani than outside it. As the men of Kulumani feel increasingly threatened by the outsider, the forces of modernity upon their traditional culture, and the danger of their animal predators closing in, it becomes clear the lionesses might not be real lionesses at all but spirits conjured by the ancient witchcraft of the women themselves. Both a riveting mystery and a poignant examination of women's oppression, Confession of the Lioness explores the confrontation between the modern world and ancient traditions to produce an atmospheric, gripping novel.