I Swear By Apollo

The sequel to The River and the Source, which won the Jomo Kenyatta Prize for Literature, and the Commonwealth Writers' Prize for the Best First Book, Africa Region in 1995. In this novel, Ogola tells of the lives of AIDS' orphans Lisa, Johnny and Alicia, and how they are guided to adulthood by their aunt Wandia, an intellectual and independent woman. The author weaves her narrative around the aspirations of her characters and how they develop to find a place in Luo/Kenyan society. A place they seek at the dawn of the twenty-first century, when Kenya is emerging from decades of corruption and deterioration; and in an environment of contradiction and mixed messages, where values and attitudes are continuously being re- examined.

It's not easy being Apollo, especially when you've been turned into a human and banished from Olympus. On his path to restoring five ancient oracles and reclaiming his godly powers, Apollo (aka Lester Papadopoulos) has faced both triumphs and tragedies. Now his journey takes him to Camp Jupiter in the San Francisco Bay Area, where the Roman demigods are preparing for a desperate last stand against the evil Triumvirate of Roman emperors. Hazel, Reyna, Frank, Tyson, Ella, and many other old friends will need Apollo's aid to survive the onslaught. Unfortunately, the answer to their salvation lies in the forgotten tomb of a Roman ruler . . . someone even worse than the emperors Apollo has already faced.

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The profound effects of colonialism and its legacies on African cultures have led postcolonial scholars of recent African literature to characterize contemporary African novels as, first and foremost, responses to colonial domination by the West. In Africa Writes Back to Self, Evan Maina Mwangi argues instead that the novels are primarily engaged in conversation with each other, particularly over emergent gender issues such as the representation of homosexuality and the disenfranchisement of women by male-dominated governments. He covers the work of canonical novelists Nadine Gordimer, Chinua Achebe, NguÅgiÅ wa Thiong'o, and J. M. Coetzee, as well as popular writers such as Grace Ogot, David Maillu, Promise Okekwe, and Rebeka Njau. Mwangi examines the novels' self-reflexive fictional strategies and their potential to refigure the dynamics of gender and sexuality in Africa and demote the West as the reference point for cultures of the Global South.