By Bernth Lindfors, Geoffrey V. Davis

This tribute assortment displays the wide variety and variety of James Gibbs's educational pursuits. the point of interest is on Africa, yet comparative stories of alternative literatures additionally obtain cognizance. Fiction, drama, and poetry via writers from Nigeria, Ghana, Sierra Leone, Eritrea, Malawi, Zimbabwe, South Africa, eire, England, Germany, India, and the Caribbean are surveyed along major missionaries, scientists, performers, and students. The writers mentioned comprise Wole Soyinka, Chinua Achebe, Kobina Sekyi, Raphael Armattoe, J.E. Casely Hayford, Michael Dei-Anang, Kofi Awoonor, Ayi Kwei Armah, John Kolosa Kargbo, Dele Charley, Ngũgĩ wa Thiong'o, Okot p'Bitek, Jonathan Sajiwandani, Samuel E. Krune Mqhayi, A.S. Mopeli-Paulus, Kelwyn Sole, Anna Seghers, Raja Rao, and Arundhati Roy. different essays deal with the black presence in eire, nameless rap artists in Chicago, the Jamaican missionary Joseph Jackson Fuller within the Cameroons, the African-American actor Ira Aldridge in Sweden, the Swedish naturalist Anders Sparrman in South Africa, and the literary pupil and editor Eldred Durosimi Jones in Sierra Leone. Interviews with the Afro-German Africanist Theodor Wonja Michael and the Irish-Nigerian dramatist Gabriel Gbadamosi also are integrated. additionally provided are poems via Jack Mapanje and Kofi Anyidoho, brief tales by way of Charles R. Larson and Robert Fraser, performs via Femi Osofisan and Martin Banham, and an account of a dramatic interpreting of a script written and co-performed by way of James Gibbs. members: Anne Adams, Sola Adeyemi, Kofi Anyidoho, Awo Mana Asiedu, Martin Banham, Eckhard Breitinger, Gordon Collier, James Currey, Geoffrey V. Davis, Chris Dunton, Robert Fraser, Raoul J. Granqvist, Gareth Griffiths, C.L. Innes, Charles R. Larson, Bernth Lindfors, Leif Lorentzon, Jack Mapanje, Christine Matzke, Mpalive-Hangson Msiska, Femi Osofisan, Eustace Palmer, Jane Plastow, Lynn Taylor, and Pia Thielmann.

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Africa could find its own place in the modern world by developing its own ideas and cultures 12 Jones–Quartey, “Kobina Sekyi,” quoted in Langley, “Introduction,” xvii. Langley, “Introduction,” xiv; Kwaku Larbi Korang, Writing Ghana, Imagining Africa: Nation and African Modernity (Rochester N Y : U of Rochester P, 2003): 131– 32. 14 Cape Coast, 1935; Public Records and Archives Administration Department, Cape Coast, A C C No. 531/64. See Kofi K. Saah & Kofi Baku, “Language and Nationalism in Colonial Ghana,” in Identity Meets Nationality: Voices from the Humanities, ed.

7 Sekoni as an icon represents the intellectual, endowed with energy and talent, who repeatedly ends up destroyed by the political technocrats he sets out to support. 8 In fact, bridges feature extensively in Soyinka’s early work, as if reminding us that the interpreters are not bystanders watching some hapless Noah being rescued from the hands of potential killers, but figures who try to reverse and revise the scripts being enacted by the political elites. And among the interpreters, Egbo, more than the others, symbolizes this image of a bridge that is sometimes imperfect, deficient or compromised.

Madmen and Specialists” (1971), in Soyinka, Six Plays (London: Methuen, 1984): 221–93. ——. The Man Died: Prison Notes (1972; London: Vintage, 1994). 33 Wole Soyinka, The Man Died: Prison Notes (1972; London: Vintage, 1994): 94. MPALIVE–HANGSON MSISKA 28 a ——. Myth, Literature, and the African World (Cambridge: Cambridge U P , 1976). ——. “Opera Wonyosi” (1981), in Soyinka, Six Plays (London: Methuen, 1984): 295– 407. Swift, Jonathan. A Modest Proposal for Preventing the Children of Poor People from Being a Burthen to their Parents or the Country and for Making them Beneficial to the Publick (London & Dublin: W.

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