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Global Caesars
Andrew James Hartley

observes, anything from AZAPO’s visionary pan-African idyll, to some generic post-independence black state, to the scurrilous Azania of Waugh’s Black Mischief (1932). What it is not is a neocolonial appropriation of Shakespeare, making vague obeisance to metropolitan heritage by whimpering ‘me too

in Julius Caesar