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Dinaw Mengestu’s The Beautiful Things that Heaven Bears (2007) and Teju Cole’s Open City (2011)

satiric, a joint venture of acidic creativity coloured by a gallows humour that characterises much of Mengestu’s work. 19 As Yogita Goyal notes, ‘even as they parody the dream of African freedom in this macabre game, their friendship also evokes a pan-African tradition, albeit in ambiguous fashion’. 20 In his ‘sober hours’, Joseph is working on a cycle of poems that tries to elaborate another kind of African history, one attuned to the legacies of colonialism and imperialism. His work traces ‘the history of the Congo from King Leopold to the death of Patrice Lumumba

in The politics of male friendship in contemporary American fiction
Abigail Ward

-year period and in varying locations; for example, the account of a female black pioneer rests against that of a white slave-ship captain, suggesting the need for each story to be heard. Non-fictional works The Atlantic Sound (2000) and A New World Order (2001) chart Phillips’s ongoing interest in what it means to ‘belong’ in the late twentieth century. In these later works, through visiting, and writing about, the points of the triangular trade (Africa, the Caribbean and US, the UK), and engaging with seemingly disparate notions like football affiliations and Pan-Africanism

in Caryl Phillips, David Dabydeen and Fred D’Aguiar
Yvette Hutchison

‘warrior men and women’, and compares them to peoples across Africa who ‘earned . . . victories’ or built empires, like the Ethiopians and the Ashanti of Ghana, suggesting that they have a strong claim to the land and a pan-African identity. However, these comparisons are made without any contextualisation or problematising of very diverse histories of empires, slavery and different kinds of subjugation. It is worth noting that of all the historical memories of the Afrikaners, Mbeki chooses to reference the ‘Boer’s’ in terms of their struggle with the British, and their

in South African performance and archives of memory
Abstract only
Tim Woods

into two parts: Chapters 1 to 4 focus on pan-African commonalities, while Chapters 5 to 7 offer more detailed, historicised and territorialised accounts of recent South African writing. Chapter 8 attends to a more overarching issue of the usefulness of metafictionality and postmodernity as terms to understand African literature, and also acts as something of a concluding assessment, especially since all the preceding

in African pasts
Manchester’s poetry in performance (1960s to the present)
Corinne Fowler

). Crucially, too, the city was also a meeting place for anti-colonial nationalists. A leading figure was Ras Makonnen, whose restaurant The Cosmopolitan was situated on Manchester’s busy Oxford Road. As John McLeod relates, the restaurant allowed ‘ad hoc and adversarial links’ to be forged between pan-African radicals, Indian Nationalists and Jewish groups resisting anti-semitism (McLeod, 2002: 53).17 Makonnen set up a publishing company and a bookshop in Manchester together with a monthly periodical entitled Pan-Africa. Profits from The Cosmopolitan were used to fund the

in Postcolonial Manchester
Critical overview and conclusion
Jago Morrison

(notwithstanding all Gikandi’s caveats) to give far too little weight to the political contradictions of the period that produced Achebe and his work, I would argue. The rival claims of tribalism, regionalism, pan-Africanism and Nigerian nationhood do not represent subtle gradations of position in the 1950s, 1960s or even the 1980s: they are the fundamental stakes in debates that for many, in Biafra particularly, turned out to be life-and-death affairs. Among all of Achebe’s writings, undoubtedly the most idealistic and doctrinaire is The Ahiara Declaration. Nowhere Morrison

in Chinua Achebe
Annalisa Oboe
Elisa Bordin

Our Hillbrow ’, Journal of Postcolonial Writing , 48:1 (2012), 39–50 ; Feldner, Narrating the New African Diaspora ; and Nnodim, ‘City, identity and dystopia’. 21 Nnodim, ‘City, identity and dystopia’, p. 321. 22 Andrade, ‘Representing slums and home’, p. 230. 23 C. Abani, ‘Lagos: a pilgrimage in notations’, in Ntone Edjabe and Edgar Pietersepp (eds), African Cities Reader I: Pan-African Practices (Cape Town: African Centre

in Chris Abani
Annalisa Oboe
Elisa Bordin

portraying the predicaments of asylum seekers in Great Britain, such as Manzu Islam’s Burrow , Caryl Phillips’s A Distant Shore , and Abdulrazak Gurnah’s By the Sea . 45 Dawson, ‘Cargo culture’, pp. 180–1. 46 W. Adebanwi, ‘Contesting exclusion: the dilemmas of citizenship in Nigeria’, African Anthropologist: Journal of the Pan African Anthropological Association , 12:1 (2005) , p. 41. 47 Adebanwi, ‘Contesting exclusion

in Chris Abani
Open Access (free)
The male leader’s autobiography and the syntax of postcolonial nationalism
Elleke Boehmer

’.40 He effectively performs the diversity of the nation-to-be. A particularly interesting feature of Mandela’s underground journey in its later stages is that, on a far wider scale than Kaunda’s, it expanded on to an international, specifically Pan-African, stage. In February 1962 Mandela secretly left South Africa on a ‘mission’ to establish contact with what would become the Organisation of African Unity (OAU) at their conference in Addis Ababa, and also to raise political and economic support for the ANC’s new military campaign. Following time spent in Ethiopia

in Stories of women
Narrating nation and identity
Susan Watkins

only the children who benefit from being taken away from their home. By their presence, the Kwadere children confirm, if further confirmation were needed, that the family is more than a genetic inheritance. The Lennox family has been, throughout the novel, a voluntary community. That is one of its strengths. As a trope, the Lennox family is placed in opposition to meta-narratives of social determinism, whether these are Marxism, Pan-Africanism or one or other of the many versions of globalization. 15 Although the Lennoxes may have been more

in Doris Lessing