The Female Condition In The Novels Of Gabonese Writer Sylvie Ntsame

This book argues that Gabonese writer Sylvie Ntsame utilizes her novels to question certain patriarchal traditions and practices in African society (such as polygyny) that, in certain contexts, tend to silence the voice of the female. Through engaging with feminist theories, among other theoretical frameworks, the author demonstrates how, in some of Ntsame’s novels, the black female body is an object of voyeurism that reduces the women to eroticized, exoticized Others. The author further argues that Ntsame counters the dystopia of racism with a depiction of idealized love through an interracial relationship, presented against the backdrop of stereotypes and myths that stifle such relationships. Ntsame does this by going back to her cultural roots, and calling for understanding between peoples of diverse ethnicities and cultures. The book makes valuable contributions to the study of Gabonese women’s writing in particular, and African women’s writing in general.

Women Writers of Gabon: Literature and Herstory demonstrates how the invisibility of women (historically, politically, cross-culturally, etc.) has led to the omission of Gabon’s literature from the African canon, but it also discusses in depth the unique elements of Gabonese women’s writing that show it is worthy of critical recognition and that prove why Gabonese women writers must be considered a major force in African literature. This book is the only book-length critical study of Gabonese literature that exists in English and although there are titles in French that provide analyses of the works of Gabonese women writers, no one work is comprehensive nor is the history of women’s writing in Gabon considered in the such a manner. Throughout the various chapters, the book explores, among other things, contributions that are unique to Gabonese women writers such as: definitions of African feminisms as they pertain to Gabonese society, the rewriting of oral histories, rituals, and traditions of the Fang ethnic group, one of the first introductions of same-sex couples in African Francophone literature, discussions on the impact of witchcraft on development, and the appropriating of the epic poetry known as the mvet by women writers. The chapters explore works by all major voices in Gabonese women’s writing including Angèle Rawiri, Justine Mintsa, Sylvie Ntsame, Honorine Ngou, and Chantal Magalie Mbazoo-Kassa and the book concludes with brief introductions of a younger generation of Gabonese women writers such as Edna Merey-Apinda, Alice Endamne, Nadia Origo, Miryl Eteno, and Elisabeth Aworet among others.

We cannot imagine our world without its digital mirror anymore. We communicate to others in mediated ways and even create ourselves through our technological devices, presenting an imagined version of us to the outside world. This book is concerned with precisely this imagination of the self in an increasing digitalized society, going back to the beginning of our digital age, to the peak of postmodernism at the end of the 20th century. Looking at urban fiction from the 1980s to the early 2000s, the journey of fictional protagonists through the streets of (mostly) New York City reveals an anxiety about the loss of self in the virtual, culminating in violence and destruction. From Auster and Ellis to Palahniuk and DeLillo, this book highlights how an increasingly distanced communication triggers the imagination of violence, making it an insightful read for scholars and aficionados of city literature, postmodernism, and communication alike.

Women Rewriting Boundaries expands the work of gender and literary scholars by offering fresh insights on how to read travel writing by women. It analyzes the connections between class, gender, physicality, and sexuality as found in nineteenth-century literature. The authors discuss the myriad ways in which women writers reinforced and challenged Victorian social norms. Inspired by a special topics panel, “Women Writing Boundaries,” presented at the 2013 Rocky Mountain Modern Language Association’s annual convention, this edited collection will be a thought-provoking resource for college- level humanities and gender studies students and their instructors.

South Asian diasporas can be considered transcultural legacies of colonialism, while constituting transcultural forms of postcolonial reality in today’s globalised world. The main focus of investigation here is South Asian women’s fiction, where diverse forms of identity negotiation undertaken by the protagonists in a number of contemporary novels (from the 1990s to the early 2000s) are read as transgressions. The themes of early gendered experiences of South Asian indentured labour migration, female genealogies and transmissions of cultural heritages down female lines, as well as negotiations of patriarchal violence, are read using a framework culled from postcolonial and feminist criticism. The literary representations of South Asian diasporic female experience in these texts are forms of commentary and critique by contemporary South Asian diasporic women writers. Hence these novels can be viewed as feminist strategies of textual creativity with distinct political aims of presenting transformative narratives addressing the tensions of diaspora and patriarchy. This book is intended to contribute to the current spectrum of academic work being done in diaspora studies, in that it brings together the concepts of diaspora, transculturality, contemporary women’s writing and transnational feminist critical approaches to bear on South Asian women’s diasporic literature. Contrary to the celebratory notion of the concept in much theory, transculturality, as represented in these texts, is fraught with ambivalence.

Visible Women: Tales of Age, Gender and In/Visibility is a reflective, questioning, subjective, self-indulgent and moving narrative exploration of the experiences of women growing older and not disappearing. What lies behind stories of older women becoming invisible and disregarded? How true are they, where do they come from, and what do they mean? How might they be challenged, and what other stories can be told? The core of the book is the poetic representation of the thoughts and lives of a group of women between 50 and 70. Their narratives are drawn from the email correspondence between the author and her seven co-researchers. Starting with a search for the anecdotal and mythical ‘invisible woman’, the author’s own story is woven into, and becomes part of, the journey. The landscape – which is beautifully observed in clear, non-academic language – takes us through feminist and poststructuralist theory, existentialism, auto/biography, journalism, fictional writing, art, film, poetry and the internet. In ‘examining the bones’ of tales of invisibility, Christine Bell is motivated by indignation as much as curiosity.

This work examines the work of a group of African women writers who have emerged over the last forty years. While figures such as Chinua Achebe, Ben Okri and Wole Soyinka are likely to be the chief focus of discussions of African writing, female authors have been at the forefront of fictional interrogations of identity formation and history. In the work of authors such as Mariama Bâ (Senegal), Buchi Emecheta (Nigeria), Chimamanda Ngozi Adichie (Nigeria), Tsitsi Dangarembga (Zimbabwe), and Leila Aboulela (Sudan), there is a clear attempt to subvert the tradition of male writing where the female characters are often relegated to the margins of the culture, and confined to the domestic, private sphere. This body of work has already generated a significant number of critical responses, including readings that draw on gender politics and colonialism, but it is still very much a minor literature, and most mainstream western feminism has not sufficiently processed it. The purpose of this book is three-fold. First, it draws together some of the most important and influential African women writers of the post-war period and looks at their work, separately and together, in terms of a series of themes and issues, including marriage, family, polygamy, religion, childhood, and education. Second, it demonstrates how African literature produced by women writers is explicitly and polemically engaged with urgent political issues that have both local and global resonance: the veil, Islamophobia and a distinctively African brand of feminist critique. Third, it revisits Fredric Jameson’s claim that all third-world texts are “national allegories” and considers these novels by African women in relation to Jameson’s claim, arguing that their work has complicated Jameson’s assumptions.