Novels Of Genocide

In the last 20 years or so, the 1994 genocide in Rwanda has inspired a number of creative writers who were eager to represent that genocide itself, its aftermath and, in some cases, the situation that they perceived as paving the way for it decades before it occurred. Unlike other parts of Africa, where the novel already had a deeply rooted tradition, the Rwandan novel is a recent phenomenon that dates back to the late 1990s. In this book, the author focuses on 10 Rwandan-authored novels of genocide, which he considers to be excellent memory texts that reveal a lot about memory processes in post-genocide Rwanda.

This book mobilises the concept of kitsch to investigate the tensions around the representation of genocide in international graphic novels that focus on the Holocaust and the genocides in Armenia, Rwanda, and Bosnia. In response to the predominantly negative readings of kitsch as meaningless or inappropriate, this book offers a fresh approach that considers how some of the kitsch strategies employed in these works facilitate an affective interaction with the genocide narrative. These productive strategies include the use of the visual metaphors of the animal and the doll figure and the explicit and excessive depictions of mass violence. The book also analyses where kitsch still produces problems as it critically examines depictions of perpetrators and the visual and verbal representations of sexual violence. Furthermore, it explores how graphic novels employ anti-kitsch strategies to avoid the dangers of excess in dealing with genocide. The Representation of Genocide in Graphic Novels will appeal to those working in comics-graphic novel studies, popular culture studies, and Holocaust and genocide studies.

This book studies children’s and young adult literature of genocide since 1945, considering issues of representation and using postcolonial theory to provide both literary analysis and implications for educating the young. Many of the authors visited accurately and authentically portray the genocide about which they write; others perpetuate stereotypes or otherwise distort, demean, or oversimplify. In this focus on young people’s literature of specific genocides, Gangi profiles and critiques works on the Cambodian genocide (1975-1979); the Iraqi Kurds (1988); the Maya of Guatemala (1981-1983); Bosnia, Kosovo, and Srebrenica (1990s); Rwanda (1994); and Darfur (2003-present). In addition to critical analysis, each chapter also provides historical background based on the work of prominent genocide scholars. To conduct research for the book, Gangi traveled to Bosnia, engaged in conversation with young people from Rwanda, and spoke with scholars who had traveled to or lived in Guatemala and Cambodia. This book analyses the ways contemporary children, typically ages ten and up, are engaged in the study of genocide, and addresses the ways in which child survivors who have witnessed genocide are helped by literature that mirrors their experiences.

In The Postcolonial African Genocide Novel, Chigbo Anyaduba examines fictional responses to mass atrocities occurring in postcolonial Africa. Through a comparative reading of novels responding to the genocides of the Igbo in Nigeria (1966-1970) and the Tutsi in Rwanda (1990-1994), the book underscores the ways that literary encounters with genocides in Africa's postcolonies have attempted to reimagine the conditions giving rise to exterminatory forms of mass violence. The book concretizes and troubles one of the apparent truisms of genocide studies, especially in the context of imaginative literature: that the reality of genocide more often than not resists meaningfulness. Particularly given the centrality of this truism to artistic responses to the Holocaust and to genocides more generally, Anyaduba tracks the astonishing range of meanings drawn by writers at a series of (temporal, spatial, historical, cultural and other) removes from the realities of genocide in Africa's postcolonies, a set of meanings that are often highly-specific and irreducible to maxims or foundational cases. The book shows that in the artistic projects to construct meanings against genocide's nihilism writers of African genocides deploy tropes that while significantly oriented to African concerns are equally shaped by the representational conventions and practices associated with the legacies of the Holocaust.

Friendship, deceit, fear, and persecution at an elite boarding school for young women in Rwanda, fifteen years before the 1994 genocide of the Tutsi . . . “Mukasonga’s masterpiece” (Julian Lucas, NYRB) Scholastique Mukasonga drops us into an elite Catholic boarding school for young women perched on the edge of the Nile. Parents send their daughters to Our Lady of the Nile to be molded into respectable citizens and to escape the dangers of the outside world. Fifteen years prior to the 1994 Rwandan genocide, we watch as these girls try on their parents’ preconceptions and attitudes, transforming the lycée into a microcosm of the country’s mounting racial tensions and violence. In the midst of the interminable rainy season, everything unfolds behind the closed doors of the school: friendship, curiosity, fear, deceit, prejudice, and persecution. With masterful prose that is at once subtle and penetrating, Mukasonga captures a society hurtling towards horror.

In this gripping tale, Ian learns not only about Rwanda and the Rwandan genocide but about the world from a soldier in the Canadian Armed Forces whose last tour of duty was as a peacekeeper stationed in Rwanda.

Set in the aftermath of the genocide in Rwanda, this novel dramatizes the difficulty of rebuilding a society that has been devastated by war. The main character, Musonera, is a survivor whose sad story is all too typical: he is the only member of his family to remain alive. Determined to resist the temptation to become lost in self-pity and bitterness, he accepts a job as a local sector leader and resolves to put all his energy into bringing about a new atmosphere of reconciliation--a daunting task in the face of so much entrenched hatred and so many raw memories. Musonera's wife, Harriet, wishes he would not leave her so often to carry out his official duties, and as the odds stack up against him, he despairs over the complex issues that have to be tackled when a country has a long history of feuding groups.

A powerful and profoundly moving novel of the civil war in Rwanda, told by men, women, and children on both sides Speak Rwanda by Julian R. Pierce marks the arrival of one of the most mesmerizing novels of the year. In vivid, sometimes horrifying, balanced, complex, and utterly believable chapters, it traces the linked lives of several characters--Hutu and Tutsi, soldiers and civilians, mothers, politicians, nurses, herdsmen, and orphaned children--as they try to survive one of the most violent and deeply disturbing acts of genocide since the Second World War. Through the course of the novel, some live and some die: by the end, the reader is fully involved in the lives of these people, and begins to see a faint glimmer of hope and the promise of peace.