The Rise Of The African Novel

Engaging questions of language, identity, and reception to restore South African and diaspora writing to the African literary tradition

Passing and the Rise of the African American Novel restores to its rightful place a body of American literature that has long been overlooked, dismissed, or misjudged. This insightful reconsideration of nineteenth-century African-American fiction uncovers the literary artistry and ideological complexity of a body of work that laid the foundation for the Harlem Renaissance and changed the course of American letters. Focusing on the trope of passing -- black characters lightskinned enough to pass for white -- M. Giulia Fabi shows how early African-American authors such as William Wells Brown, Frank J. Webb, Charles W. Chesnutt, Sutton E. Griggs, James Weldon Johnson, Frances E. W. Harper, and Edward A. Johnson transformed traditional representations of blackness and moved beyond the tragic mulatto motif. Celebrating a distinctive, African-American history, culture, and worldview, these authors used passing to challenge the myths of racial purity and the color line. Fabi examines how early black writers adapted existing literary forms, including the sentimental romance, the domestic novel, and the utopian novel, to express their convictions and concerns about slavery, segregation, and racism. She also gives a historical overview of the canon-making enterprises of African-American critics from the 1850s to the 1990s and considers how their concerns about crafting a particular image for African-American literature affected their perceptions of nineteenth-century black fiction.

"The Rise of the African Novel is the first book to situate South African and African-language literature of the late 1880s through the early 1940s in relation to the literature of decolonization that spanned the 1950s through the 1980s, and the contemporary generation of established and emerging continental and diaspora African writers of international renown. Calling it a major crisis in African literary criticism, Mukoma Wa Ngugi considers key questions around the misreading of African literature: Why did Chinua Achebe's generation privilege African literature in English despite the early South African example? What are the costs of locating the start of Africa's literary tradition in the wrong literary and historical period? What does it mean for the current generation of writers and scholars of African literature not to have an imaginative consciousness of their literary past? While acknowledging the importance of Achebe's generation in the African literary tradition, Mukoma Wa Ngugi challenges that narrowing of the identities and languages of the African novel and writer. In restoring the missing foundational literary period to the African literary tradition, he shows how early South African literature, in both aesthetics and politics, is in conversation with the literature of the African independence era and contemporary rooted transnational literatures." --

Thomas Mofolo's final novel and masterpiece, Chaka captures the phenomenal rise and fall of the great Zulu king. One of the earliest modern literary classics from Southern Africa, Chaka, is the tragic tale of a warrior-king and his insatiable hunger for power. Told in a mythic style, Chaka follows the torments of the Zulu king's early life, his rapid ascension to the throne, and the prophesied events that lead to his downfall. 'Chaka is a beautifully dark and twisted take on the true life story of the Zulu King ... built around one of the most enigmatic and memorable literary figures you'd ever encounter.' Ainehi Edoro

Includes a chapter on Camara Laye's 'Le Regard du roi'.

Beyond Gold and Diamonds demonstrates the importance of southern Africa to British literature from the 1880s to the 1920s, from the rise of the systematic exploitation of the region's mineral wealth to the aftermath of World War I. It focuses on fiction by the colonial-born Olive Schreiner, southern Africa's first literary celebrity, as well as by H. Rider Haggard, Gertrude Page, and John Buchan, its most influential authorial informants, British authors who spent significant time in the region and wrote about it as insiders. Tracing the ways in which generic innovation enabled these writers to negotiate cultural and political concerns through a uniquely British South African lens, Melissa Free argues that British South African literature constitutes a distinct field, one that overlaps with but also exists apart from both a national South African literary tradition and a tradition of South African literature in English. The various genres that British South African novelists introduced—the New Woman novel, the female colonial romance, the Rhodesian settler romance, and the modern spy thriller—anticipated metropolitan literary developments while consolidating Britain's sense of its own dominion in a time of increasing opposition.

In The African Novel in English Keith Booker uses eight African novels to illustrate the scopes, varieties and the general aesthetic, cultural, and political concerns that have motivated African authors.