By Marvin A. Lewis

Spain’s merely former colony in sub-Saharan Africa, Equatorial Guinea is domestic to a literature of transition—songs of freedom within which authors think of their identification in the context of modern colonialism and dictatorship.

            An advent to the Literature of Equatorial Guinea is the 1st book-length serious examine of this literature, a multigenre research encompassing fifty years of poetry, drama, essays, and prose fiction. either resident and exiled authors supply insights into the influence of colonialism and dictatorship below Spanish rule and view the culmination of “independence” lower than the regimes of Francisco Macías Nguema and Teodoro Obiang Nguema. reading those works from the point of view of postcolonial thought, Marvin A. Lewis exhibits how writings from Equatorial Guinea depict the conflict of conventional and ecu cultures and replicate a dictatorship that produced poverty, distress, and oppression. He assesses with specific care the impression of the Macías reafricanization approach and its manifestations in literature.

In displaying how the perspectives of the state correspond and diverge in works of writers akin to Maria Nsue Angue, Donato Ndongo-Bidyogo, and Juan Tomás Ávila Laurel, Lewis brings to gentle artists who articulate their issues in Spanish yet are African of their souls. In reading the works of either well known and rising writers, he marks the topics that give a contribution to the formation of nationwide id: Hispanic history, the parable of Bantu harmony, “bonding in adversity” throughout the Nguema regime, and the Equatoguinean diaspora.

            Lewis presents an available advent to the paintings of valuable writers in a brand new region of literary research and contains the main exhaustive and updated bibliography to be had at the topic. His is a groundbreaking paintings that broadens our figuring out of African literature and may be the bedrock for destiny reviews of this Hispanic nook of Africa.

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His verse is all-encompassing, and unconcerned with the dialectical processes of political reality. To transcend the temporal and the physical is to be reborn in a symbolic sense while remaining aware of the physical universe that constitutes his poetic objective. ” The poet then turns his attention to the interconnectedness of God and nature. The most overtly religious poems in the section, “Love and Countryside,” are “Oración” (Prayer), “Bisila Virgen” (Virgin Bisila), and “El dios que quiero” (The god I love).

No hay aquí nada exacto. ” This uncertainty extends even to the poem itself. Unlike concrete objects, a poem can only exist as a verbal construct. Beauty, therefore, resides in the power of words and figurative language: The precise, the beautiful: all, in the word of he who possesses the voice made of wings, guitars and harps. ” With no set formula or rules to ensure success, everything depends upon the creative capacity of the artist: The precise, the concrete marvel of being a grain of wheat, palm juice liquor, grape juice or wine.

The speaker looks to the model of a crucified Christ as a parallel to the unmitigated suffering she experiences. There is doubt, however, as to whether either real or symbolic sacrifice will bring deliverance. ) Do you not hear the echo in my profound drumbeat: my eyes? ) And you separate stealing lips vertex below the sonorous rosary of your ashes of a yellow flower. ] ¿No oyes el eco en mi tambor profundo: mis ojos? el rosario sonoro de tus cenizas de flor amarilla. ]) (8) This poem, designed to depict a physical union, is structured loosely around the image of the human body.

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