The Last Harmattan Of Alusine Dunbar

Winner of the 1991 Commonwealth Writers' Prize. Syl Cheney-Coker's acclaimed debut novel, The Last Harmattan of Alusine Dunbar traces the history of a nation's rise and fall, as prophesied by an ancient sorcerer. A military general sits in one of Malagueta's prison cells, awaiting his execution. He has just failed to overthrow the government. In the same land, over two centuries ago, the wife of a formerly enslaved man takes her first steps towards freedom. From the creation of Malagueta to its devastating fall, Alusine Dunbar, the wizened old diviner, has prophesied it all. And what he sees, he calls a tragedy. One of Sierra Leone's most renowned novelists and poets, Sly Cheney-Coker creates a world teeming with magical realism as he paints the journey from precolonial Africa to its shaky independence.

The present collection of essays endeavours to furnish informed responses to central questions posed by the editors: Is the fact that the marvellous coexists with the factual and never resolves itself into the supernatural an indication that the whole literary project of 'magical realism' is an instrumental and representational form which can be regarded as particularly suitable for reconciling dichotomies and oppositions otherwise experienced as intolerable? Was 'magical realism' an explosive process in cultural dynamics, taking place at intersections of heterogeneous cultures most favourable to the efflorescence of this type of literature? The authors of the various essays - on Patrick White and David Malouf, Ben Okri, Syl Cheney-Coker, Robert Kroetsch, Gwendolyn MacEwan, Jack Hodgins, Salman Rushdie, Janet Frame, Wilson Harris and others - provide a dynamic focus on the reality at stake beneath the surface representations of 'magical realism' in post-colonial literatures.

This collection of essays introduces students of African literature to the heritage of the African prose narrative, starting from its oral base and covering its linguistic and cultural diversity. The book brings together essays on both the classics and the relatively new works in all subgenres of the African prose narrative, including the traditional epic, the novel, the short story and the autobiography. The chapters are arranged according to the respective thematic paradigms under which the discussed works fall.

Tracing the development of British colonial administration in West Africa over the course of the long eighteenth century, Caulker illuminates the solidification of the administration as it goes through a learning process of power. This book analyzes the documents and treaties that the indigenous peoples of eighteen-century Sierra Leone made with their future British colonizers, and compares them with the writings of Adam Smith to uncover a colonial philosophy linking European economic success with the process of civilizing Africa through moral education. A discussion of other archival materials demonstrates the ways that an emerging anthropological science and pseudo-scientific methodology contributed to colonial ventures and exploration. The book concludes with an analysis of the postcolonial novel The Last Harmattan of Alusine Dunbar, demonstrating that the study of this long eighteenth-century archive has as much to do with the present postcolonial era as it does with the period of African colonization.

This study aims at delineating the cultural work of magical realism as a dominant narrative mode in postcolonial British fiction through a detailed analysis of four magical realist novels: Salman Rushdie's Midnight's Children (1981), Shashi Tharoor's The Great Indian Novel (1989), Ben Okri's The Famished Road (1991), and Syl Cheney-Coker's The Last Harmattan of Alusine Dunbar (1990). The main focus of attention lies on the ways in which the novelists in question have exploited the potentials of magical realism to represent their hybrid cultural and national identities. To provide the necessary historical context for the discussion, the author first traces the development of magical realism from its origins in European Painting to its appropriation into literature by European and Latin American writers and explores the contested definitions of magical realism and the critical questions surrounding them. He then proceeds to analyze the relationship between the paradigmatic turn that took place in postcolonial literatures in the 1980s and the concomitant rise of magical realism as the literary expression of Third World countries.

This Handbook offers a comprehensive examination of Gabriel García Márquez's life, oeuvre, and legacy, the first such work since his death in 2014. It incorporates ongoing critical approaches such as feminism, ecocriticism, Marxism, and ethnic studies, while elucidating key aspects of his work, such as his Caribbean-Colombian background; his use of magical realism, myth, and folklore; and his left-wing political views. Thirty-two wide-ranging chapters coverthe bulk of the author's writings, giving special attention to the global influence of García Márquez.

In retracing some of the routes followed by West African literature in English over the course of the last three decades, this book employs an original multidimensional approach whereby the three main genres - narrative, poetry and drama - are considered in the light of their intricate web of fecund rapport and mutual influence.Authors such as Tutuola, Armah, Aidoo and Awoonor translated the fluid structures of orality into written prose, and consequently infused their works with poetic and dramatic resonance, thereby challenging the canonical dominance of social realism and paving the way for the birth of West African magical realism in Laing, Okri and Cheney-Coker.Starting in the 1970s, poetry on stage has become a mainstream genre in Ghana, thanks to performances by Okai, Anyidoho and Acquah.Boundaries between literary theatre and other genres have undergone a similar dissolution in the affirmation of the concept of 'total art' from Efua Sutherland to ben Abdallah, Osofisan and others. Fertile Crossingsoffers a study of these topics from various viewpoints, blending in-depth textual analysis with reflections on the political import of the works in question within the context of the present state of African societies, all supported by interviews with most of the authors.