It may be possible to talk of the existence of virile national literatures in Nigeria, South Africa, Kenya, Malawi, Zimbabwe, Senegal, Cameroon and the Congo, among others. Letters From Africa: The Modern African Poetry Compilation African Poetry Project. Obiechina, E.1975 Culture, Society and Tradition in the West African Novel (Cambridge: Cambridge University Press).1990 “Nsukka: Literature in an African Environment”, Language and Theme: Essays on African Literature (Washington D. C.: Howard University Press). It should however be seen as complementing the reflections of participant-observers, like Martin Banham’s “A Piece that We May Fairly Call our Own” (1961). stream He correlates the achievement of each of the ten poets he studies with the pattern or standard set by their models. In the first generation of modern African poetry, there was an incarnation of a dominant tendency of reaction against colonialism. Gordimer, N.1973 The Black Interpreters: Notes on African Writing (Johannesburg: SPRO-CAS/RAWAN). As early as 1962, Martin Banham and John Ramsaran (1962: 372) in “West African Writing” could say: “Ibadan has become the centre of literary creativity in the country and obviously has an important part to play in the guidance of a Nigerian literature. This reflects the marginalisation of the female voices in anthologies of African poetry. His contention is that “in African societies art has traditionally been highly functional, and [that] the contemporary African writer identifies with this tradition” (Mutiso 1974: 9). But it is flawed by the arbitrariness of the criteria adopted in constructing it. (ed. 18Critical evaluations of the Ibadan tradition have always drawn attention to the positive impact of such literary journals as The Horn, Black Orphans and the Mbari Writers’ and Artists’ Club in the promotion of her literary culture. These are the contemporary West African poets and spoken word artists you need to know. Chinua Achebe One of the world’s most widely recognized and praised writers, Chinua Achebe wrote some of the most extraordinary works of the 20th century. Ngara dispenses with the too familiar practice of categorising writers as products of regional literary traditions and privileges authorial ideology, reading the work of each poet as the unique product of a definable creative vision. Modern Poetry of Pakistan (Paperback or Softback) $13.60. 26The radical wing of the sociological critics, which is largely constituted by critics immersed in the Marxist critical tradition, represents a vocal, although less significant, presence in African critical practice. Chipasula, F.1985 When my Brothers Come Home: Poems from Central and Southern Africa (Middletown, CT: Wesleyan University Press). Moore, G.1965 African Literature and the Universities (Ibadan: Ibadan University Press).1966 “Time and Experience in African Poetry”, Transition 126: 18-22.1968 “The Imagery of Death in African Poetry”, Africa 38: 57-70.1979 “Surrealism and Negritude in the Poetry of Chikaya-U-Tamsi”, in G. Moore (ed. %PDF-1.6 This is reflected in G. C. M. Mutiso’s Socio-political Thought in African Literature (1974), Kofi Awoonor’s The Breast of the Earth (1975), Lewis Nkosi’s Tasks and Masks (1981) and Abiola Irele’s The African Experience in Literature and Ideology (1990a), all of which are conscious of the necessity of evolving relevant critical criteria as articulated by Donatus Nwoga’s “The Limitation of Universal Critical Criteria” (1976), even if this would only mean compromising or adapting the tenets of New Criticism, the tradition within which most of them were trained. (1988) as expounded in The Signifying Monkey. (ed. In making a case for an Anglophone, as opposed to a Francophone, Cameroonian literature, Emmanuel Fru Doh (1993: 82) says: “It is obvious that there is an Anglophone Cameroon literature and, like all literatures, it is a function of the trials and tribulations which mark the Anglophone Cameroonian’s existence from the earliest beginnings in his encounter with the whiteman until today when he finds himself in a disheartening union with his Francophone counterpart.”. The foregoing review shows that critics have not paid adequate attention to the fact that some of the assumptions informing the privileging of such social units as the nation-state in the description of literary traditions are both questionable and invalid, so long as ethnic formations are by far, more influential socio-cultural units in contemporary Africa. The notion of critical reception in the study is, consequently, so inclusive that it accommodates practices as diverse as canon formation, the formulation of critical criteria and the construction of African literary geography. Thus, they temper a form of formalist appraisal with some historical consciousness. His work thus represents a more scholarly rendition of the ideas of the bolekaja critics in Toward the Decolonization of African Literature (Chinweizu & Madabuike 1980) in its dispassionate outlook and scholarly temper. His argument, briefly stated, is as follows: “The first significant stage in the formation of contemporary African poetry in English was […] emancipation from nineteenth-century cultural imperialism and the voluntary adoption of a foreign, but international, twentieth-century cultural imperialism and the voluntary adoption of a foreign, but international, twentieth-century style. Her poetry is included in the Jalada Afrofuture(s) and Language issues, and Black Girl Seeks. 6 0 obj Onoge, O.1985 “The Crisis of Consciousness in Modern African Literature: A Survey”, in G. Gugelberger, (ed. This development was associated with the critics operating within the Ibadan/Ife axis in the late 1970’s: Biodun Jeyifo, Femi Osofisan, G. G. Darah, Niyi Osundare and Ropo Sekoni. But Jacob Gordon (1971: 23) denies the existence of “homogeneity of thought or expression among writers of any particular region in Africa” altogether. 15M. The Modern American Poetry Site is a comprehensive learning environment and scholarly forum for the study of modern and contemporary American poetry. Making a case for the Marxist critical framework in the African environment, he says: “There is no necessary contradiction between Marxism and Afrocentrism in literary criticism. The primary motivation for the effort, as Anozie (1989: viii) argues in Structural Models and African Poetics, is not to “furnish the critical direction” for African literature as such, but a way of demonstrating that “the criticism of African literatures could use more method, and a more vigorous ordering of sense”. This explains why a South African (as opposed to Southern African) poetic tradition tended to represent the modern poetic heritage of the region for a very long time. Retrouvez Letters From Africa: The Modern African Poetry Compilation et des millions de livres en stock sur Amazon.fr. Gerald Moore is particularly known for taking an African universe for granted in studying African poetry. […] The adoption of the Anglophone African poets of an international style was due to their tertiary education” (Goodwin 1982: ix). Maduakor, H.1980 “Peter Thomas and the Development of Nigerian Poetry”, Research in African Literatures 11 (1): 84-99. Adebayo Olukoshi (1996: 45) describes the nation-state project in the continent as an extension of the effort at “nation-building” sponsored by the colonial establishment in the process of “obliterating ethnic differences”. Much as there are isolated cases of investigations rooted in such critical traditions as Psychoanalysis, Feminism and Semiotics, a clear pattern is yet to emerge to authorise an informed critique. Identifying and clarifying ethnic traditions in African literature may be a major step towards developing a viable alternative to dominant but not so relevant methods in the clarification of the African literary experience. 6Tanure Ojaide’s Poetic Imagination in Black Africa (1996) maps a wider space for African poetry. De ce fait, la notion de réception critique dans cette étude est tellement large qu’elle accommode des pratiques aussi diverses que l’élaboration de canons, la formulation de critères critiques et la construction d’une géographie littéraire africaine. Modern African poetry in the context of the essay refers to African poetry in the received European languages—English, French and Portuguese—but for practical convenience, its focus is limited to modern African poetry of English expression and, to some extent, Francophone African poetry in English translation. Molefi Asante (1985: 6) claims that “[a]lmost all Africans share cultural similarities with the ancient Egyptians”. /Interpolate true F�N���D:i���l}d�1��,'�Z��k ���t��r�k�yW��Z(�\M��i���,����ћ��q���>��`tG��B�&����Q���l��:xŒ��)��#\*MUMd}�c�h��f5o����2I�,��2�s�kNU�"�V��Q� The lack of dynamism in African Marxist critical practice is apparent in the manner it reduces every form of poetic expression to political statement, thereby making each critical exercise incapable of yielding new insights. Born in Nigeria in 1977, Chimamanda Ngozi Adichie is part of a new generation of African writers taking the literary world by storm. 13A basic theoretical consideration, which is often overlooked, is the fact that every national literature must, in reality, project the national spirit. 3The first phase of the scholarly investigation of African poetry privileged a Pan-Africanist outlook, one that took the existence of a continental literary tradition for granted. Even within the framework of individual nation-states, there are often as many ethno-linguistic groups as one cares to identify.”. Ironically, the growing decolonisation of the African poetic imagination has not been matched by a corresponding re-evaluation of the tools for its assessment. Benson, P.1988 Black Orpheus, Tradition and Modern Cultural Awakening in Africa (Berkeley: University of California Press). To date, colonialism represents the single most disruptive factor in Africa’s history. The Cameroonian experience reveals another dimension of the problem. Modern African Poetry, The Penguin Book of: Revised Edition [Moore, Gerald, Beier, Ulli] on Amazon.com. With the obvious exception of Wole Soyinka’s Poems of Black Africa (1977), whose title reflects its focus, anthologies like Modern Poetry from Africa co-edited by Gerald Moore and Ulli Beier (1963) as well as A Book of African Verse by John Reed and Clive Wake (1969) operate within a tradition that is pretentious in claiming the African identity for works that do not truly project diverse African experiences. )1963 Modern Poetry from Africa (Hammondsworth: Penguin). 27Emmanuel Ngara’s Ideology and Form in African Poetry (1990) and Udenta O. Udenta’s Art, Ideology and Social Commitment in African Poetry (1976), are among the very few book-length studies of African poetry in the Marxist tradition. The Penguin Book of Modern African Poetry edited by Gerald Moore and Ulli Beier: Angola. Whereas most of these anthologies merely represent the work of poets in sub-Saharan Africa, they adopt the African identity in a metonymic manner. Many of the studies with this orientation were published in the Black Orpheus and the early volumes of African Literature Today. This becomes necessary as no informed appraisal of cultural production in the postcolonial world can overlook the place occupied by the culture of a people. Nigeria’s many ethnic groups regularly assert themselves and have come to see the country as the invention of the British. ), Exile and Tradition (London: Longman Group Ltd.): 8-30.1982 “Modern African Poetry: The Domestication of a Tradition” African Literature Today 10: 32-56. (ed. Critical method is conceived here in a loose sense that suggests critical focus, embracing the assumptions rooted in contemporary critical methods and the more traditional approaches associated with older scholars. Basically, the manner of study and approach often determine how these categorizations are configured. 4th ed. — Cet article analyse la production de savoir critique dans les études consacrées à la littérature africaine, et plus particulièrement à la poésie africaine moderne. From the creative perspective, Modern African Poetry entails poems written by Africans or non Africans, in African or non African languages, in African or non-African countries which propagates the African social experiences without asserting colour hegemony or racial barcodes in the interpretation of such experience. (ed. Modern Russian Poetry: An Anthology (1921) by Pushkin, Alexander Paperback Book. 20The foregoing survey of the paradigms for the study of African poetry may create the impression that much has been achieved in terms of the critical appraisal of African poetry. The approach has particularly proved useful in such surveys as Kofi Awoonor’s “The Poet, the Poem and the Human Condition: Recent West African Poetry” (1979) and Funso Aiyejina’s “Recent Nigerian Poetry in English: The Alter-Native Tradition” (1988). Wangusa, T.1973 “East African Poetry”, African Literature Today 6: 46-53. Modern African Poetry University of Ibadan Distance Learning Centre Open and Distance Learning Course Series COURSE MANUAL ENG328 Development Version 1.0 v1 Evaluations of the poetic tradition of each of these countries have, in most cases, been integrated into larger studies incorporating critical essays on their oral, dramatic and fictional literatures. Even though he focuses on modern African poetry of English expression, he makes statements that are supposed to be applicable to a poetic tradition in sub-Saharan Africa and the black Diaspora. African poetry and fiction suffered most from this approach. It would then appear that basic to the adoption of the paradigm is the tendency to survey the dominant trends in the poetic culture of each region. Achetez neuf ou d'occasion The Penguin Book of English Verse (Penguin Classics) P J Keegan. The Modern American Poetry Site is a comprehensive learning environment and scholarly forum for the study of modern and contemporary American poetry. Achetez neuf ou d'occasion While “[t]he poets of the Nsukka tradition […] have always in their poetry shown a consciousness of the Igbo tradition” (Nwoga 1982: 39), the Ibadan poets are neither drawn from, nor associated with any geo-cultural section of the country. This at once acknowledges the conditioning impact of the colonial experience on modern African poetic traditions and enhances the formulation of a relevant critical tool. Noté /5. Mutiso G. C. M.1974 Socio-political Thought in African Literature (New York: Barness and Noble). The first step is to recognise the danger of adopting or adapting assumptions and paradigms developed in other cultural environments which would easily engender the error of empirical thinking as has been the case in the criticism of modern African poetry. par Oyeniyi Okunoye du même auteur. 21The earliest phase in the study of African poetry naturally showed a great deal of interest in its formal peculiarity. Goodwin, K.1982 Understanding African Poetry: A Study of Ten Poets (London: Heinemann). It would appear that even when an expatriate critic feels sufficiently prepared to engage African poetry from the perspective of its concern, there is always a tendency to end up underscoring form. Whoever thinks that Africa cannot produce poetry needs to read a few pages from this volume. A good example is John Povey’s “The Poetry of J. P. Clark: Two Hands a Man Has” (1972). Last Updated on October 26, 2018, by eNotes Editorial. The contention of proponents of the paradigm is that these realities have tended to condition literary production in the regions, so that it becomes possible to draw attention to shared attitudes, techniques or formal orientations. ), African Literature—An Anthology of Critical Writing (London: Longman): 110-111. It is this method, more than any other that betrays the poverty of initiative in the criticism of African poetry. Awoonor, K.1975 The Breast of the Earth: A Survey the History, Culture and Literature Africa South of the Sahara (New York-Lagos: Nok Publishers Int. /Length 8249 Modern African poetry and by extension, African writing in the European languages, is largely writing from sub-Saharan Africa. Any exploration of the critical engagement with the Nigerian experience is capable of illustrating the problems associated with privileging national traditions in the reading of African poetry. Ojaide (1996: 80-81) clarifies this further: “Unlike in the 1960s when the poets were culturally obsessed, nature-oriented and ‘universal’, today, old and young poets are addressing their national issues more aggressively than before […]. Mutiso’s claim is a variant of the black aesthetic, which, in a sense, authorises the transcontinental Afrocentric theory of Molefi Kente Asante, and the vernacular theory of Henry Louis Gates, Jnr. URL : http://journals.openedition.org/etudesafricaines/4817  ; DOI : https://doi.org/10.4000/etudesafricaines.4817. This is largely responsible for reinforcing received assumptions with regard to the canon of African poetry, as representative poets are often identified in each case, especially when such studies are incorporated into comprehensive surveys of the literature of the region concerned. Reed, J. 17Nigerian poetry is the most developed and has also attracted a variety of critical responses. Only 9 left in stock (more on the way). For him, African poetry “is intimately concerned with the African people in the African society, with their life in its various ramifications—cultural, social, economic, intellectual, and political” (Egudu 1978: 5). Doh, E. F.1993 “Anglophone Cameroon Literature: Is there Any Such Thing?”, in E. Breitinger et al. Chipasula, S. & F. The proceedings of the conferences, edited by Gerald Moore (1965), are brought together in African Literature and the Universities. We are also happy to take questions and suggestions for future materials. Many critics have, for instance, come to see the work of Okot p’ Bitek as synonymous with East African poetry. The Penguin Book of Modern African Poetry (in an earlier 1963 edition Modern Poetry from Africa) is a 1984 poetry anthology edited by Gerald Moore and Ulli Beier. The efforts of people like Martin Banham, Ulli Beier and Janheinz Jahn at the University College, Ibadan and those of Peter Thomas at the University of Nigeria, Nsukka in their early days, are recognised as the main stimuli for the flowering of creative writing in these universities. Modern African literature also owes its existence to the phenomenon of colonialism” (Williams 1998: 16). Thus, while poets like J. P. Clark, Wole Soyinka, Aig-Imoukhuede, Molara Ogundipe, Mabel Segun, Tanure Ojaide, Odia Ofeimun, Niyi Osundare, Okinba Launko, Harry Garuba, Onookome Okome, Femi Fatoba, Remi Raji and Chiedu Ezeanah are associated with the Ibadan tradition, Okogbule Wonodi, Sam Nwajioba, Ossie Enekwe, Obiora Udechukwu, Chukwuma Azuonye, Uche Nduka and Olu Oguibe have come to be identified with Nsukka. Read "The Penguin Book of Modern African Poetry" by Gerald Moore available from Rakuten Kobo. Appraising Anozie’s critical project, Irele, in “Sunday Anozie, Structuralism and African Literature”, says: “The aims and principles of the structuralist method are universalist in their orientation. Contrary to Goodwin’s claims, Fraser seeks to establish that modern West African poets owe more to their indigenous poetic traditions. Lecture 1 - Introduction Overview. The Penguin Book of Modern African Poetry, MOORE GERALD, Penguin. (ed. Most African states are, at best, constructs of the colonial powers that would cease to exist if the constituent nationalities fully assert themselves. 25The Structuralist critical project associated with Sunday Anozie may not have made much impact on the criticism of modern African poetry but it represents a major attempt at indigenising a Western critical methodology. It is predicated on the background that periodisation in African poetry has attracted arguments over the years. Modern African literature has gained recognition worldwide with such classics as Chinua Achebe's Things Fall Apart, Ngugi wa Thiongo's Weep Not Child, and Wole Soyinka's Death and the King's Horseman. Modern Poetry from Africa (African S.) Book The Fast Free Shipping. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de réduction . 4 0 obj Things Fall Apart, Chinua Achebe Image Courtesy of Penguin Modern Classics. Ironically, Egudu underscores the variety of experiences articulated in African poetry without drawing attention to its implication for the continued validity of the notion of an African poetic tradition. African dramatic literature has also enjoyed reasonable critical appraisal, reflecting the diversity of the traditions, experiences and concerns it engages. The rich oral tradition of African poetry is manifested in several poetic narratives like Sunjatta/Sunjara/Sundiatta epic, Shaka epic, Zwindo epic and Ozidi saga. This trend was continued and intensified in the 40’s and 50’s by the Negritude poets of Africa. Nkosi, L.1981 Tasks and Masks: Themes and Styles of African Literature (Essex: Longman). They are unique in the sense that they reflect the preferences of their authors. ENGL 310: Modern Poetry. But modern African poetry has not enjoyed adequate critical attention. It consists mainly of poems written in English and English translations of French or Portuguese poetry; poems written in African languages were included only in the authors' translations. Stella and Frank Chipasula in the Introduction to African Women’s Poetry stress the fact that its “exclusive focus on women’s poetry is a necessary first step towards reversing the objectification of women and rendering visible the invisible poets themselves” (Chipasula 1995: xvii). Udenta, O. U.1976 Art, Ideology and Social Commitment in African Poetry (Enugu: Fourth Dimension Publishers Ltd.). 11Regionalism may be problematised if critics see the possibility of categorising on the basis of language. Okafor, D.2001 “The Cacophonous Terrain of Nigerian/African Literature”, in D. Okafor (ed. 12This leads to the evaluation of a newer but no less problematic practice, one that authorises the reading of African poetry as an aggregate of national traditions. Mowah, F. U.1991 “Toward A Structuralist Study of African Poetry: An Examination of the Poetry of Wole Soyinka and Okot p’Bitek”, Dissertation, University of Ibadan. All these have continued to exert strong influences on modern African poetry. Besides (and unlike in the West), content is more important than form and images do not aim to reflect the senses. Olukoshi, A.1996 “The Nation-State in Africa”, Southern African Political and Economic Monthly, 9-10 July: 45-46. Only 15 left in stock (more on the way). She is well-known for her works “In a Ribbon of Rhythm” released in 2005 and “Flying Above the Sky”, which was released in 2008. )1995 New Poets of West Africa (Lagos: Malthouse). The mere fact that foreign languages are used could occasionally create discord in discourse but modern African poetry attempts to reflect indigenous rhythms. In this situation, the definition of a shared literary tradition becomes problematic. ��SuN]�ş�_V2�v�v.�k�*B�&8qJ�Ж(*AB��O�;4��7�O)�,��:���QR�-�3E��h��Z�l7�&��vq��q��l�jB��xI��߆%F=C-��6Rj,mJ�9"�hSj ����8��Z�mj�� S7$Qh��}�D37JW��%Jց�F �TK�C�W@���aѹ��v:uqNS'+���i��qfm��uڣ= Stating his intention in West African Poetry, a serious attempt at surveying the development of West African poetry, Fraser (1986: 2) says that “the emphasis” of his work “is unashamedly on form”. The fact that all other problems ever raised in the criticism of African literature are engendered by these underscores their primacy in the assessment of modern African poetic traditions. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de réduction . Roscoe, A. Banham, M. & Ramsaran, J.1962 “West African Writing”, Books Abroad 36: 371-4. Critics like Abiola Irele acknowledge the fact that “there has been a movement in African literary studies towards the recognition of national literature in the new African states” (Irele 1990b: 52). 2The conflicting critical standpoints with regard to the possibilities of apprehending African literature will represent critical positions, which have attracted numerous subscribers and reflect changing perspectives on African literature. 33Ethnic formations constitute significant cultural units in the African context. $10.17. Elimimian, I.1989 The Poetry of J.P. Clark-Bekederemo, Longman Books. Moore, G. & Beier, U. N. ), Anglophone Cameroon Writing (Bayreuth: Bayreuth African Studies): 76-83. In fact, an authentic African world forms the backdrop of modern African poetry” (Ojaide 1996: 30). This essay probes the production of critical knowledge in African literary studies with particular reference to the study of modern African poetry. It surveys the major paradigms and methods in this regard, exploring the viable alternatives and possibilities for reading the tradition. About The Penguin Book of Modern African Poetry. x��[T��&F�h� �t��P�"�����(�b��(�{�1&�Xc�5Q�Q�i&F�?��R�β���73����.�$'�{ Ojaide, T.1994 The Poetry of Wole Soyinka (Lagos: Malthouse Press Ltd.).1996 Poetic Imagination in Black Africa (Durham, NC: Academic Press). /Filter /FlateDecode 34This critique of the critical reception of modern African poetry has drawn attention to the urgency of producing relevant knowledge in the criticism of African poetry, especially as the critical engagement with African poetry stands to benefit from the critical assumptions associated with the emergent postcolonial literary theory, which recognises the peculiar socio-cultural experiences in the postcolonial world. Dorsey, D.1988 “The Critical Perception of African Poetry”, African Literature Today 16: 26-38. Aijaz Ahmad (1994: 244) has argued that “(a) ’national’ literature […] has to be more than the sum of its regional constituent parts, if we are to speak of its unity theoretically”. This is evident in such essays as “Time and Experience in African Poetry” (1966) and “The Imagery of Death in African Poetry” (1968). With such talented poets living in a continent filled with violence, political despair and such pride and love, the poetry of Africa is just as relevant and important to our soul as the poetry from Europe and the US. Pioneered by European critics of African literature and a few indigenous scholars, the motivation for this critical project was the urgency of appraising African poetry in the light of the European tradition to which they assumed the emergent African poets were indebted. Perhaps this is why every word, every line of Libsekal’s poetry left me yearning, weighed down and mesmerised. Gates Jnr, H. L.1988 The Signifying Monkey: A Theory of African-American Literary Criticism (New York: Oxford University Press). Volume One (Lagos: Guardian Books [Nig] Limited): 152-161.1990a  [1981]  The African Experience in Literature and Ideology (Bloomington-Indianapolis: Indiana University Press).1990b “The African Imagination”, Research in African Literatures 21 (1): 49-67. In a significant demonstration of the link between the literatures of Africa and the New World, S. E. Ogude (1983) locates the origin of African literature in English in the slave writings of the eighteenth century. Course readings and requirements are also addressed. Generation of African Literature ( Ile-Ife: Obafemi Awolowo University Press ):.! Rightly argued that “ [ a ] lmost all Africans share cultural similarities with the pattern or standard by. 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