Cam Tok And Other Poems From The Cradle

Cam Tok & Other Poems from the Cradle is the poet’s attempt at capturing in print the orality characteristic of Cameroonian discourse and speech mannerisms of the proverbial man in the street. Pidgin English, also called broken English, is a lingua franca spoken throughout the national territory of Cameroon. Of the over 200 languages spoken in this African country, only Pidgin enjoys the rare privilege of being spoken by people from all social strata and walks of life, regardless of educational standing. Indeed, Pidgin has acquired the status of an independent language in Cameroon.It is no longer restricted to small talk, business and music; it is now the language of Cameroonian literature. Francis Njamnjoh, Patrice Nganang, Kangsen Wakai, Mercédès Fouda, and Gabriel Fonkou to name but a few, have adopted Cam Tok as a medium of expression in their literary works. They continually imprint their creative writing with Pidgin English and Camfranglais words and expressions. These writers constantly resort to pidginization and code-switching as a mode of literary indigenization and cultural appropriation.This anthology of poems is inspired by the poet’s desire to salvage a language that is threatened with asphyxiation by self-styled linguistic purists in Cameroon who have subjected this lingua franca to denigration on account of its being non-standardized. Pidgin English translates the worldview of Cameroonians; it conveys their imagination, sensibilities and lived experiences. Although Pidgin has, hitherto, been regarded as a language used mostly by the not so educated people in Cameroon and beyond, this hybrid language has now gained currency among the elite. Learned Cameroonians often resort to Pidgin English for the purpose of phatic communion in informal circles.

This study raises awareness to the emergence of a new genre in world literaturehybridized literature. It rejects the assumption according to which literatures written in less commonly taught languages should be subsumed into one universally accessible global idiom. Instead, Vakunta challenges literary scholars and readers of literature to regard untranslatability as the key to cross-cultural engagement. The books multiple approaches and innumerable sources generate complex interdisciplinary connections and provide an excellent introduction to a complex literary phenomenon alien to literati resident outside the officially bilingual multicultural and multilingual Republic of Cameroon.

This study raises awareness to the emergence of a new genre in world literature-hybridized literature. It rejects the assumption according to which literatures written in less commonly taught languages should be subsumed into one universally accessible global idiom. Instead, Vakunta challenges literary scholars and readers of literature to regard untranslatability as the key to cross-cultural engagement. The book's multiple approaches and innumerable sources generate complex interdisciplinary connections and provide an excellent introduction to a complex literary phenomenon alien to literati resident outside the officially bilingual multicultural and multilingual Republic of Cameroon.

This book is a timely addition to debates and explorations on the epistemological relevance of African proverbs, especially with growing calls for the decolonisation of African curricula. The editors and contributors have chosen to reflect on the diverse ways of being and becoming African as a permanent work in progress by drawing inspiration from Chinua Achebe's harnessing of the effectualness of oratory, especially his use of proverbs in his works. The book recognises and celebrates the fact that Achebe's proverbial Igbo imaginations of being and becoming African are compelling because they are instructive about the lives, stories, struggles and aspirations of the rainbow of people that make up Africa as a veritable global arena of productive circulations, entanglements and compositeness of being. The contributions foray into how claims to and practices of being and becoming African are steeped in histories of mobilities and a myriad of encounters shaped by and inspiring of the competing and complementary logics of personhood and power that Africans have sought and seek to capture in their repertoires of proverbs. The task of documenting African proverbs and rendering them accessible in the form of a common hard currency with fascinating epistemological possibilities remains a challenge yearning for financial, scholarly, social and political attention. The book is an important contribution to John Mbiti's clarion call for an active and sustained interest in African proverbs.

This book collates thematic reflections on Cameroon music exalting Manu Dibango, one of the first-generation Cameroonian musicians, who bowed to Covid-19 on 24 March 2020. Granted his enormous contribution to Cameroon, African and world music, one would have expected that scholarly books and encyclopaedia of recognition would be written in his honour prior to his demise. However, that was not the case. Like many other musicians in Cameroon, seemingly nothing substantial has been written about Manu Dibango and his music, with the exception, paradoxically, of his autobiography, Three Kilos of Coffee. What exists on this towering and humble giant of Cameroonian and African superstardom is scanty and mostly in the form of grey literature. We must learn to immortalise our artists and popular intellectuals beyond their entertainment value and the photo opportunities that we have with them in their lifetime. The inspiration for this book was drawn from the conviction that one of the best ways of honouring and valorising Manu Dibango would be by taking the cue from his music and then collecting essays generally on music, its role and impact in Cameroon, Africa and beyond.

The Cradle Place is a collection from Thomas Lux, a self-described "recovering surrealist" and winner of the Kingsley Tufts Award. These fifty-two poems bring to full life the "refreshing iconoclasms" Rita Dove so admired in Lux's earlier work. His voice is plainspoken but moody, humorous and edgy, and ever surprising. These are philosophical poems that ask questions about language and intention, about the sometimes untidy connections between the human and natural worlds. In the poem "Terminal Lake," Lux undermines notions of benign nature, finding dark currents beneath the surface: "it's a huge black coin, / it's as if the real lake is drained / and this lake is the drain: gaping, language- / less, suck- and sinkhole." In the ominous "Render, Render," the narrator asks us to consider a concentration of the essences of our lives: all that is physical, spiritual, remembered, and dreamed for, melded together to make the messy self we present to the world. Lux's voice is intelligent without being bookish, urgent and unrelentingly evocative. He has long been a strong advocate for the relevance of poetry in American culture. The Los Angeles Times praises Lux for his "compelling rhythms, his biting irony, and his steady devotion to a craft that often seems thankless." As Sven Birkerts noted, "Lux may be one of the poets on whom the future of the genre depends."