Podcasts about thiong

Met vandaag: De strijd tussen president Trump en de universiteiten | Keniaanse schrijver Ngugi wa Thiong'o overleden | Nieuwe uitvinding maakt beklimming Mount Everest makkelijker | Was Nicky Hopkins de ideale sessiemuzikant? | Stond eerste file in Nederland (1955) óók bij shopping mall? | Presentatie: Simone Weimans.

A special report from the frontline in eastern Ukraine where Russian forces are advancing. Also: remembering the renowned Kenyan author Ngugi wa Thiong'o, and saving lives with a defibrillator on Mount Everest.

It's episode 212 and time for us to talk about excellently complicate the non-fiction genre of Linguistics & Language! We discuss

On this episode, we talk with Sikose (she/her), a Ph.D. student in the Department of English studying underground literature in South Africa during apartheid. Together, we talk about how her research informs her perspective on writing and why writing matters to her. Please note that this episode contains discussions of police and state violence. Historical context:1948 – the first apartheid law is enacted in South Africa1952 – Regional pass laws, which required Black South Africans to carry identifying documents to travel through internal checkpoints within the country, are replaced by a national pass law1953 – The Bantu Education Act is enacted, effectively restricting education access for non-White South Africans1960 – Sharpeville Massacre occurs when police ambush crowds protesting against the national pass law1963-64 – The Rivonia Trial takes place, sending many leading anti-apartheid activists to prison for life, including Nelson Mandela1976 – Soweto Uprising, a protest that begins as a response to planned language policy instituting Afrikaans as the language of instruction for Black South African students, becomes a broader challenge to the authority of the apartheid government1990 – Negotiations begin to end apartheid in South Africa; Nelson Mandela is released after 27 years of imprisonmentMaterial and resources discussed:South Africa Belongs to Us: A History of the ANC – Francis Meli (Zimbabwe Publishing House, 1988; accessible via UW Libraries)Rest is Resistance: A Manifesto – Tricia Hersey (Little, Brown Spark, 2022; accessible via UW Libraries)On the Stage of Time – Sikose Mji (Beyond the Vale Publishing, 2024; available soon via UW Libraries)Decolonising the Mind: The Politics of Language in African Literature – Ngũgĩ wa Thiong'o (Heinemann, 1986; accessible via UW Libraries)The Body is Not an Apology: The Power of Radical Self-love – Sonya Renee Taylor (Berrett-Koehler Publishers; accessible via UW Libraries) Storytelling Fellows – a program for UW students, faculty, and staff organized by the UW Libraries offering beginner-level workshops on podcasting, digital exhibition, and video storytelling. Audio transcript: Episode 4

Imprisoning a Revolution: Writings from Egypt's Incarcerated (U California Press, 2025), edited by Collective Antigone, is a groundbreaking collection of writings by political prisoners in Egypt. It offers a unique lens on the global rise of authoritarianism during the last decade. This book contains letters, poetry, and art produced by Egypt's incarcerated from the eruption of the January 25, 2011, uprising. Some are by journalists, lawyers, activists, and artists imprisoned for expressing their opposition to Egypt's authoritarian order; others are by ordinary citizens caught up in the zeal to silence any hint of challenge to state power, including bystanders whose only crime was to be near a police sweep. Together, the contributors raise profound questions about the nature of politics in both authoritarian regimes and their “democratic” allies, who continue to enable and support such violence. This collection offers few answers and even less consolation, but it does offer voices from behind the prison walls that remind readers of our collective obligation not to look away or remain silent. With a foreword by acclaimed Egyptian novelist Ahmed Naji and an afterword with Kenyan literary giant Ngũgĩ wa Thiong'o, Imprisoning a Revolution holds a mirror not just to Egypt but to the world today, urging us to stop the rampant abuse and denial of fundamental human rights around the globe. In this episode, Ibrahim Fawzy interviews Mark LeVine and Lucia Sorbera about the genesis of the book, the challenges of curating it, struggle against tyranny, resistance, writing, and more. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Imprisoning a Revolution: Writings from Egypt's Incarcerated (U California Press, 2025), edited by Collective Antigone, is a groundbreaking collection of writings by political prisoners in Egypt. It offers a unique lens on the global rise of authoritarianism during the last decade. This book contains letters, poetry, and art produced by Egypt's incarcerated from the eruption of the January 25, 2011, uprising. Some are by journalists, lawyers, activists, and artists imprisoned for expressing their opposition to Egypt's authoritarian order; others are by ordinary citizens caught up in the zeal to silence any hint of challenge to state power, including bystanders whose only crime was to be near a police sweep. Together, the contributors raise profound questions about the nature of politics in both authoritarian regimes and their “democratic” allies, who continue to enable and support such violence. This collection offers few answers and even less consolation, but it does offer voices from behind the prison walls that remind readers of our collective obligation not to look away or remain silent. With a foreword by acclaimed Egyptian novelist Ahmed Naji and an afterword with Kenyan literary giant Ngũgĩ wa Thiong'o, Imprisoning a Revolution holds a mirror not just to Egypt but to the world today, urging us to stop the rampant abuse and denial of fundamental human rights around the globe. In this episode, Ibrahim Fawzy interviews Mark LeVine and Lucia Sorbera about the genesis of the book, the challenges of curating it, struggle against tyranny, resistance, writing, and more. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Imprisoning a Revolution: Writings from Egypt's Incarcerated (U California Press, 2025), edited by Collective Antigone, is a groundbreaking collection of writings by political prisoners in Egypt. It offers a unique lens on the global rise of authoritarianism during the last decade. This book contains letters, poetry, and art produced by Egypt's incarcerated from the eruption of the January 25, 2011, uprising. Some are by journalists, lawyers, activists, and artists imprisoned for expressing their opposition to Egypt's authoritarian order; others are by ordinary citizens caught up in the zeal to silence any hint of challenge to state power, including bystanders whose only crime was to be near a police sweep. Together, the contributors raise profound questions about the nature of politics in both authoritarian regimes and their “democratic” allies, who continue to enable and support such violence. This collection offers few answers and even less consolation, but it does offer voices from behind the prison walls that remind readers of our collective obligation not to look away or remain silent. With a foreword by acclaimed Egyptian novelist Ahmed Naji and an afterword with Kenyan literary giant Ngũgĩ wa Thiong'o, Imprisoning a Revolution holds a mirror not just to Egypt but to the world today, urging us to stop the rampant abuse and denial of fundamental human rights around the globe. In this episode, Ibrahim Fawzy interviews Mark LeVine and Lucia Sorbera about the genesis of the book, the challenges of curating it, struggle against tyranny, resistance, writing, and more. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Imprisoning a Revolution: Writings from Egypt's Incarcerated (U California Press, 2025), edited by Collective Antigone, is a groundbreaking collection of writings by political prisoners in Egypt. It offers a unique lens on the global rise of authoritarianism during the last decade. This book contains letters, poetry, and art produced by Egypt's incarcerated from the eruption of the January 25, 2011, uprising. Some are by journalists, lawyers, activists, and artists imprisoned for expressing their opposition to Egypt's authoritarian order; others are by ordinary citizens caught up in the zeal to silence any hint of challenge to state power, including bystanders whose only crime was to be near a police sweep. Together, the contributors raise profound questions about the nature of politics in both authoritarian regimes and their “democratic” allies, who continue to enable and support such violence. This collection offers few answers and even less consolation, but it does offer voices from behind the prison walls that remind readers of our collective obligation not to look away or remain silent. With a foreword by acclaimed Egyptian novelist Ahmed Naji and an afterword with Kenyan literary giant Ngũgĩ wa Thiong'o, Imprisoning a Revolution holds a mirror not just to Egypt but to the world today, urging us to stop the rampant abuse and denial of fundamental human rights around the globe. In this episode, Ibrahim Fawzy interviews Mark LeVine and Lucia Sorbera about the genesis of the book, the challenges of curating it, struggle against tyranny, resistance, writing, and more. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices

A Ficção como História - este é o título e a premissa do livro de Dorothée Boulanger agora publicado em português, depois de uma primeira edição em inglês. A académica francesa analisou mais de 20 romances de autores angolanos como Pepetela, Manuel dos Santos Lima, Ondjaki, José Eduardo Agualusa ou Sousa Jamba, todos publicados no período pós-colonial. O objectivo era tentar perceber o papel da literatura na formação da identidade nacional nos primeiros anos da independência. O trabalho é o resultado de uma investigação durante o doutoramento na Universidade de Oxford, onde continua como professora. O que levou a Dorothée a viver e a trabalhar em Angola e como é que esse período influenciou esta investigação? Eu morei em Angola de 2009 a 2011, na cidade de Lobito. Foi, primeiro, uma oportunidade pessoal e familiar, mas, anteriormente, tinha-me formado em relações internacionais e estudos de género, especializando-me no assunto dos conflitos armados em África e em assuntos de pós-conflito, reconstrução, reconciliação. Por isso, o contexto angolano era muito interessante para mim. A guerra civil parou menos de uma década antes da minha chegada em Lobito. Morar mais de dois anos nessa cidade foi uma oportunidade preciosa para o meu trabalho, porque eu quero pensar a literatura como uma intervenção estética e política num contexto específico. A minha leitura das obras fez-se a partir da situação do país. Deu-me a possibilidade de ver a especificidade do discurso literário angolano e os desafios que a população enfrentava acerca da liberdade de expressão e da memória da guerra.O que faz de Angola especial para que a literatura de ficção seja útil como fonte da história do país?O papel de muitos escritores angolanos durante a guerra anticolonial, a sua participação na luta armada e dentro do MPLA, tornou-os atores políticos importantes e também testemunhas privilegiadas deste período. Por isso, as narrativas que eles fizeram têm um valor histórico. Também gozavam de um grande prestígio social. O primeiro presidente, Agostinho Neto, era chamado presidente-poeta. E a União dos Escritores Angolanos foi a primeira associação criada pelo Estado independente. Dentro do primeiro governo Neto, havia muitos escritores com função de ministros na saúde, como o Uanhenga Xitu, na cultura, como o António Jacinto. Então, realmente, os escritores estavam dentro do aparelho do poder.O que é que os romances de ficção angolanos ensinam sobre Angola que não está nos manuais de história? Uma das contribuições da literatura angolana é de oferecer um discurso angolano sobre a história do país. Um discurso angolano que se distancia do discurso oficial do regime, que fala das tensões dentro do MPLA, do oportunismo das elites pós-coloniais, das purgas. É importante ter vozes angolanas para contar esta história, centrando perspectivas autóctonas e referências culturais e linguísticas angolanas. Os escritores nem sempre concordam na sua maneira de contar ou analisar certos eventos históricos. Ver estes desacordos e estes conflitos é importante para deixar a história aberta e evitar mistificações. A literatura de ficção permite também transmitir de maneira clara, muito pedagógica, trajetórias históricas complexas, influências múltiplas que construíram a sociedade angolana desde o período da escravidão até hoje. A literatura torna-se um arquivo precioso do período revolucionário angolano. Estou pensando nas histórias de infância do Ondjaki, em Luanda, nos anos 1980, quando a cidade e o país eram fechados ao mundo. O romance de Pepetela, "O Planalto e a Estepe", por exemplo, fala das redes revolucionárias dos anos 1960 e 1970, de Cuba à Argélia e à União Soviética.    Por outro lado, às vezes, é nos seus silêncios que a literatura angolana nos ensina muito sobre o papel dos intelectuais. A dificuldade, por exemplo, de falar da tentativa de golpe de Estado do 27 de maio de 1977 por parte dos escritores mais próximos do poder, mostra a dificuldade dos intelectuais em pensar também na sua cumplicidade com a violência do Estado.O que é que descobriu que não estava à espera? Tive várias surpresas. Eu acho que a primeira surpresa foi durante a minha primeira leitura dos romances, num contexto em que a população angolana não se sentia à vontade para falar da guerra ou do governo. Pelo contrário, os escritores contavam histórias difíceis, complexas, faziam acusações a propósito do papel das elites, também sobre a herança da escravidão, a falta de integridade ideológica e ética de muitos líderes políticos ou religiosos. Havia esta liberdade de tom dentro da literatura. A segunda surpresa foi realizar, mais tarde, após ler muitos romances, a centralidade das perspectivas masculinas e a falta de substância de muitos personagens femininos, sobretudo com os escritores da geração da independência. Os seus romances eram anticoloniais, anti-racistas, que denunciam a dominação portuguesa e a propaganda do Estado Novo. Por isto, não pensava que adotariam com tamanha facilidade estereotipos sexistas. Ademais, o MPLA tinha um discurso de inclusão das mulheres na luta. Mas era só isso, discurso. Os romances angolanos revelam que a emancipação das mulheres e o privilégio masculino são pontos cegos para estes autores, todos homens. Estou pensando em "Sim Camarada!", de Manuel Rui, ou "Mayombe", de Pepetela, que são obras sexistas. Mas o que é muito interessante é que parece que estes autores depois tentaram corrigir um pouco esta propensão. "Lueji: O Nascimento de um Império", de Pepetela, "Rioseco", de Manuel Rui, tentam celebrar o papel das mulheres nas lutas e nas guerras em Angola. Mas até hoje há muito pouco mulheres escritoras no país, o que sublinha, eu acho, a persistência de uma atmosfera masculina acerca da literatura.Há aqui um modelo para analisar a história de outros países da África lusófona da perspetiva da literatura? Sim, a literatura africana sempre teve essa vontade de responder ao discurso colonial, de contar a história na perspectiva dos africanos e das africanas. Um dos aspectos do discurso colonial era negar a história africana, dizendo que a sua história começou com a chegada dos europeus. Muitos escritores africanos - Yvonne Vera, Ngugi wa Thiong'o, Assia Djebar e muitos outros - escreveram para contar a sua própria história e revelar a violência e a regressão histórica que constituiu a ocupação europeia do continente africano. Isto sendo dito, eu acho que o caso angolano tem as suas especificidades. No contexto do Estado Novo, a censura política, a propaganda portuguesa deram à literatura um papel importante para fazer ressoar o discurso anticolonial e nacionalista. Daqui, os escritores angolanos, que por razões sociais, familiares, tinham laços fortes com o MPLA, participaram fortemente na luta anticolonial, como escritores e como militantes, às vezes como guerreiros. Esta proximidade com a luta e depois com o aparelho de Estado dá este valor histórico à literatura angolana e à sua especificidade.  Analisou a literatura pós-colonial, de 1960 a 2010. A literatura angolana, ou africana em geral, é hoje menos ativista politica e socialmente?  É uma pergunta interessante, mas é uma pergunta difícil, porque, como eu expliquei, a literatura africana, de forma geral, tem esta dimensão política. Não se reduz a este discurso político, mas tem essas preocupações com o poder, as desigualdades, a dominação histórica. Eu acho que hoje esta dimensão combativa da literatura africana pode encarnar-se em outras lutas de género ou ambientais. Mas, no caso da literatura angolana, acho que é verdade que não encontramos o mesmo dinamismo, a mesma criatividade que há 30 anos. Angola teve uma geração excepcional de escritores desde os anos 60. É indisputável. Hoje em dia, não são tantos, e a luta encarna-se em outras formas de arte, como o hip-hop, por exemplo. A expressão crítica e criativa faz-se através das redes sociais. E temos também que dizer que a negligência do Estado angolano com a educação e a cultura não permitiu um forte desenvolvimento da leitura e da literatura dentro das gerações mais jovens.O livro "A Ficção como História - Resistência e Cumplicidades na Literatura Angolana Pós-Colonial" publicado pela editora Mercado de Letras vai estar à venda em Angola a partir de Março e vai ficar disponível mais tarde em versão digital graças a uma parceria com a editora francesa Africae. 

“The writers of our time who used to criticise the government are no longer there.”Today on the podcast, Alan has the pleasure and privilege of speaking to one of Africa's great writers: the South Sudanese author Taban Lo Liyong.In the 1960s he rubbed shoulders with independence politicians like Jomo Kenyatta and Kwame Nkrumah and with giants of African literature like Wole Soyinka, Chinua Achebe and Ngugi wa Thiong'o. He was taken to Uganda as a young child and spent his formative years there – but now lives in his native South Sudan. On today's podcast he discusses language, the impact of HIV Aids, and why he's not ready to stop work at the age of 93 years. He says he still has two more books in him…

Kavish Chetty é estudante de doutorado no Departamento de Estudos Literários Ingleses da Universidade da Cidade do Cabo, África do Sul. Seus interesses de pesquisa incluem literatura africana e a história da descolonização intelectual na África. Ele trabalhou como jornalista cultural por muitos anos, mais recentemente como crítico de cinema do Sunday Times.*** Apoie o Canal ***Apoio mensal:https://apoia.se/podcastuniversogeneralistaPIX: universogeneralista@gmail.com*** Referências ***Lista de pensadores mencionados (em ordem alfabética):Aijaz Ahmad - Amílcar Cabral - Aníbal Quijano - Arif Dirlik - Audre Lorde - Ayi Kwei Armah - Bessie Head - Biodun Jeyifo - Boaventura de Souza Santos - C. Wright Mills - Chinua Achebe - Chinweizu Ibekwe - Dipesh Chakrabarty - Dilip Parameshwar Goankar - Edward Said - Fredric Jameson - Frantz Fanon - Gayatri Spivak - Homi K. Bhabha - J. Sai Deepak - Jonathan Jansen - Julius Nyerere - Joseph-Achille Mbembe - Kwame Anthony Appiah - Kwame Nkrumah - Kwasi Wiredu - Mogobe Ramose - Nelson Maldonado-Torres - Neil Lazarus - Ngũgĩ wa Thiong'o - Olúfẹ́mi Táíwò - Paulin J. Hountondji - Ramón Grosfoguel - Reverend Attoh-Ahuma - Sabelo J. Ndlovu-Gatsheni - Samuel Ajayi Crowther - Samir Amin - Silvia Rivera Cusicanqui - Steve Biko - Toyin Omoyeni Falola - Tsitsi Dangarembga - Walter Mignolo - Walter Rodney - Yambo Ouologuem

Fantastisk litteratur (også kalt undringslitteratur) fra Afrika har i mange tiår vevd sammen fortid og nåtid. Forfattere har kombinert afrikanske myter og legender med samfunnskritikk og reiser i verdensrommet, i en type fiksjon som utvider rammene for både fantastisk litteratur og litteratur fra det afrikanske kontinentet.I dette nyskrevne foredraget, bestilt av Litteraturhuset og fremført digitalt, presenterer den nigerianske forfatteren Wole Talabi en tidslinje for afrikansk fantastisk litteratur, fra spede begynnelser og frem til vår samtid. Her reflekterer han over sjangerens innflytelse og betydning og forteller om rekken sentrale verk som har definert sjangeren gjennom tiårene.Wole Talabi er en nigeriansk ingeniør og forfatter av fantastisk litteratur, bosatt i Perth, Australia. Han har blant annet utgitt novellesamlingene Incomplete Solutions (2019) og Convergence Problems (2024), samt romanen Shigidi and the Brass Head of Obalufon (2023), som vant den gjeve Nommo-prisen for beste roman innen fantastisk litteratur i 2024. Novellene hans har vært nominert til og vunnet en rekke priser, blant annet Sidewise-, Nommo- og Locus-prisen. Han har også mottatt Caine-prisen for afrikanske forfattere.Talabi har også satt sammen en database med utgitte verk innen afrikansk spekulativ fiksjon, som han var redaktør for fra 2015 til 2021. Han er også redaktør for flere antologier med afrikansk fantastisk litteratur, inkludert den sentrale utgivelsen Africanfuturism. An Anthology (2020), og er i dag en av sjangerens sentrale tenkere og pådrivere.Verk nevnt:Tidlige verk (1930-tallet – 1960-tallet):Jean-Louis Njemba Medou – Nnanga Kon (1932)Muhammadu Bello Kagara – Gandoki (1934)D.O. Fagunwa – Forest of a Thousand Daemons (1938)Amos Tutuola – The Palm-Wine Drinkard (1952) Uavhengighetsblomstringen (1960-tallet – 2000-tallet):Sony Labou Tansi – Life and A Half (1979)Buchi Emecheta – The Rape of Shavi (1983)Kojo Laing – Woman of the Aeroplanes (1988)Ben Okri – The Famished Road (1991)Kojo Laing – Major Gentl and Achimota Wars (1992)Ngũgĩ wa Thiong'o – The Wizard of the Crow (2004/2006) Internett-alderen og sjangerens anerkjennelse (tidlig 2000-tallet – tidlig 2010-tallet)Nnedi Okorafor – Zahrah the Windseeker (2005)Ahmed Khaled Towfik – Utopia (2008) Lauren Beukes – Moxyland (2008)Lauren Beukes – Zoo City (2010)Nnedi Okorafor – Who Fears Death (2010)Ivor Hartmann (ed.) – Afro SF (2012) Økene internaskonal anerkjennelse (2010-tallet – I dag):Deji Bryce Olukotun – Nigerians in Space (2014)Jennifer Nansubuga Makumbi – Kintu (2014) Tade Thompson – Rosewater (2016)Tochi Onyebuchi – Beasts Made of Night (2017)Akwaeke Emezi – Freshwater (2018)Namwali Serpell – The Old Drift (2019)Oghenechovwe Donald Ekpeki – Ife-Iyoku, the Tale of Imadeyunuagbon (2020) Andre nevnte verk: Chinua Achebe – Things Fall Apart (1958)Helen Oyeyemi – The Icarus Girl (2005)Wole Talabi – Shigidi and the Brass Head of Obalufon (2023)Black Panther (dir. Ryan Coogler, 2018)«Afro-mythology and African futurism», essay av Pamela Phatsimo SunstrumNnedi Okorafor – «Spider the Artist»Chikodili Emelumadu – Dazzling (2023)Yvette Lisa Ndlovu – Drinking from Graveyard Wells (2023)Pemi Aguda – Ghostroots (2024)Tlotlo Tsamaase – Womb City (2024)Suyi Davies Okungbowa – Warrior of The Wind (2023)T. L. Huchu – The Library of The Dead (2021) Hosted on Acast. See acast.com/privacy for more information.

For decades, African speculative fiction has weaved together past and future, combining myths and legends with space exploration and social criticism and broadening the scope of both African and speculative literatures.In this original lecture, invited by The House of Literature and recorded digitally, Nigerian author Wole Talabi presents a timeline of African speculative fiction from its early beginnings and until the present day. Here, he reflects on the influence and importance of the genre, citing its central works and defining its distinguishing features.Wole Talabi is a Nigerian engineer and author of speculative fiction currently living in Perth, Australia. His published works include the short story collections Incomplete Solutions (2019) and Convergence Problems (2024), as well as the novel Shigidi and the Brass Head of Obalufon (2023), which won the Nommo award for best novel in 2024. His short stories have been nominated for and won several awards, including the Sidewise, Nommo and Locus awards, as well as being awarded the Caine Prize for African Writing.Talabi also compiled a database of published works of African speculative fiction, which he edited from 2015 to 2021. He is also the editor of several anthologies of African speculative fiction, including the landmark publication Africanfuturism. An Anthology (2020) and remains one of the field's chief advocates and central thinkers.Works mentioned:Early Works (1930s – 1960s):Jean-Louis Njemba Medou – Nnanga Kon (1932)Muhammadu Bello Kagara – Gandoki (1934)D.O. Fagunwa – Forest of a Thousand Daemons (1938)Amos Tutuola – The Palm-Wine Drinkard (1952)Post-Independence Flourish (1960s – early 2000s):Sony Labou Tansi – Life and A Half (1979)Buchi Emecheta – The Rape of Shavi (1983)Kojo Laing – Woman of the Aeroplanes (1988)Ben Okri – The Famished Road (1991)Kojo Laing – Major Gentl and Achimota Wars (1992)Ngũgĩ wa Thiong'o – The Wizard of the Crow (2004/2006)The Internet Age and Genre Recognition (early 2000s – early 2010's)Nnedi Okorafor – Zahrah the Windseeker (2005)Ahmed Khaled Towfik – Utopia (2008) Lauren Beukes – Moxyland (2008)Lauren Beukes – Zoo City (2010)Nnedi Okorafor – Who Fears Death (2010)Ivor Hartmann (ed.) – Afro SF (2012)Increasing Global Recognition (2010s – present):Deji Bryce Olukotun – Nigerians in Space (2014)Jennifer Nansubuga Makumbi – Kintu (2014) Tade Thompson – Rosewater (2016)Tochi Onyebuchi – Beasts Made of Night (2017)Akwaeke Emezi – Freshwater (2018)Namwali Serpell – The Old Drift (2019)Oghenechovwe Donald Ekpeki – Ife-Iyoku, the Tale of Imadeyunuagbon (2020)Other works mentioned:Chinua Achebe – Things Fall Apart (1958)Helen Oyeyemi – The Icarus Girl (2005)Wole Talabi – Shigidi and the Brass Head of Obalufon (2023)Weird Tales, fantasy and horror magazineJungle Jim, bi-monthly African pulp fiction magazineOmenana Speculative fiction magazineBlack Panther (dir. Ryan Coogler, 2018)“Afro-mythology and African futurism”, essay by Pamela Phatsimo SunstrumNnedi Okorafor – “Spider the Artist”Phoenix, publishing imprint at Ouida BooksMother, publishing imprint by Jacana MediaChikodili Emelumadu – Dazzling (2023)Yvette Lisa Ndlovu – Drinking from Graveyard Wells (2023)Pemi Aguda – Ghostroots (2024)Tlotlo Tsamaase – Womb City (2024)Suyi Davies Okungbowa – Warrior of The Wind (2023)T. L. Huchu – The Library of The Dead (2021)The Sauúti collective Hosted on Acast. See acast.com/privacy for more information.

Embedded Subtitles: Brazilian Portuguese Kavish is a doctoral student in the Department of English Literary Studies at the University of Cape Town, South Africa. His research interests include African literature and the history of intellectual decolonisation in Africa. He has worked as a culture journalist for many years, most recently as the film critic for the Sunday Times. ********** Support the Channel ********** PayPal Donation You'll find most of the books mentioned here: https://www.amazon.com/shop/universogeneralista/list/3BSJAQXA8RM79?ref_=cm_sw_r_cp_ud_aipsflist_ST8X1787NEX4X2D9FH47 List of thinkers mentioned (in alphabetical order): Aijaz Ahmad - Amílcar Cabral - Aníbal Quijano - Arif Dirlik - Audre Lorde - Ayi Kwei Armah - Bessie Head - Biodun Jeyifo - Boaventura de Souza Santos - C. Wright Mills - Chinua Achebe - Chinweizu Ibekwe - Dipesh Chakrabarty - Dilip Parameshwar Goankar - Edward Said - Fredric Jameson - Frantz Fanon - Gayatri Spivak - Homi K. Bhabha - J. Sai Deepak - Jonathan Jansen - Julius Nyerere - Joseph-Achille Mbembe - Kwame Anthony Appiah - Kwame Nkrumah - Kwasi Wiredu - Mogobe Ramose - Nelson Maldonado-Torres - Neil Lazarus - Ngũgĩ wa Thiong'o - Olúfẹ́mi Táíwò - Paulin J. Hountondji - Ramón Grosfoguel - Reverend Attoh-Ahuma - Sabelo J. Ndlovu-Gatsheni - Samuel Ajayi Crowther - Samir Amin - Silvia Rivera Cusicanqui - Steve Biko - Toyin Omoyeni Falola - Tsitsi Dangarembga - Walter Mignolo - Walter Rodney - Yambo Ouologuem

Host Jason Blitman talks to acclaimed author Nnedi Okorafor (Death of the Author) about her inspiration for the book, the personal tragedy that shaped its narrative, and her thoughts on the intersection of human artistry and AI. Then Jason talks to Guest Gay Reader, UK drag queen Holly Stars, who shares her recommendations for light-hearted reading and gives us a sneak peek into her own new release, Murder in the Dressing Room. Nnedi Okorafor is an international award-winning New York Times Bestselling novelist of science fiction and fantasy for children, young adults and adults. Born in the United States to Nigerian immigrant parents, Nnedi is known for drawing from African cultures to create captivating stories with unforgettable characters and evocative settings. Nnedi has received the World Fantasy, Nebula, Eisner and Lodestar Awards and multiple Hugo Awards, amongst others, for her books. Champions of her work include Neil Gaiman, Ngugi wa Thiong'o, George RR Martin, and Rick Riordan. Literary ancestors Diana Wynne Jones, Ursula K. Le Guin and Nawal El Saadawi also loved her work. Nnedi holds a PhD in Literature, two Master's Degrees (Journalism and Literature) and lives in Phoenix, Arizona with her daughter Anyaugo. Learn more at nnedi.com. You can also follow her on Twitter (@nnedi) and Instagram (@nnediokorafor).Holly Stars is a drag stand-up comedian and writer. She is the writer of the smash-hit drag murder mystery, Death Drop, a play that has had three runs on the West End and a UK and Ireland tour. Holly has two seasons of her own television series, Holly Stars: Inspirational, on Froot TV and OutTV, and regularly performs in London and around the UK. Her solo shows include: Justice For Holly, Nightmare Neighbour and Birthday.BOOK CLUB!Use code GAYSREADING at checkout to get first book for only $4 + free shipping! Restrictions apply.http://aardvarkbookclub.comWATCH!https://youtube.com/@gaysreadingBOOKS!Check out the list of books discussed on each episode on our Bookshop page: https://bookshop.org/shop/gaysreading MERCH!Purchase your Gays Reading podcast merchandise HERE! https://gaysreading.myspreadshop.com/ FOLLOW!@gaysreading | @jasonblitman CONTACT!hello@gaysreading.com

Dr. Julian Kunnie In part two of our illuminating series with Dr. Julian Kunnie, we discuss the following: How and why miscegenation has been used historically as a tool for colonial domination, referencing his book–The Cost of Globalization: Dangers to the Earth and Its People–and an article by Chinweizu–“Reparations for Darfur 4: A Resolution.” The importance of understanding the term genetic colonialism. Arab hegemony in Africa. And, much more! Dr. Julian Kunnie's forthcoming book, The Earth Mother and the Assault of Capitalism: Living Sustainable with All Life, is scheduled for release April 23, 2025. This episode features music from: Conscientization 101– "Decolonize This? Properly Defining Settlers – Part 1" Big Frizzle – “Fast” Akala – “Maangamizi” from his album The Thieves Banquet   Donnie Mossberg – “Tragedy Mix” Raggo Zulu Rebel – “Unity” Donnie Mossberg Instagram: @machingunfunk Chinweizu's “Reparations for Darfur 4: A Resolution”, appears in our complied document The Chinweizu Reader. In reference to Akala's The Thieves Banquet, see also Ngũgĩ wa Thiong'o's The Devil on the Cross. The Podcast Was Just A Snippet Of The Interview. Want to Listen To The Unabridged Interview? Try C-101 Premium Podcast Free For 7 Days!

Haki si haki iwapo inatolewa kwa lugha ambayo haileweki kwa wahusika, wamejulishwa washiriki wa mkutano wa pili wa wanazuoni unaofanyika hapa makao makuu ya Umoja wa Mataifa New York, Marekani na pia mtandaoni ukimulika Madaraka, Haki na Binadamu: Utawala wa Sheria na mabadiliko Afrika. Anold Kayanda na maelezo zaidi.

In this episode, I cover chapters 2, 3, and 4 of Ngũgĩ wa Thiong'o "Decolonising the Mind." Please consider donating to one of the following organizations: Palestinian Children's Relief Fund: https://pcrf1.app.neoncrm.com/forms/general United Nations Relief and Works Agency: https://donate.unrwa.org/gaza/~my-donation Middle East Children's Alliance: https://secure.everyaction.com/1_w5egiGB0u0BAfbJMsEfw2 Twitter: @DavidGuignion IG: @theory_and_philosophy Podbean: https://theoretician.podbean.com/

In this episode, I cover the first chapter of Ngũgĩ wa Thiong'o "Decolonising the Mind." Part two will cover chapters 2, 3, and 4.    Please consider donating to one of the following organizations: Palestinian Children's Relief Fund: https://pcrf1.app.neoncrm.com/forms/general United Nations Relief and Works Agency: https://donate.unrwa.org/gaza/~my-donation Middle East Children's Alliance: https://secure.everyaction.com/1_w5egiGB0u0BAfbJMsEfw2 Twitter: @DavidGuignion IG: @theory_and_philosophy Podbean: https://theoretician.podbean.com/

This week we have fun with all of the top books of the 21st century hype by sharing our own top 10 lists. We each killed a few darlings and made some very tough decisions. How did we do?What books would make your list?Summer Book ClubThe book for the Mookse and the Gripes Summer Book Club 2024 is William Trevor's The Story of Lucy Gault. You can start reading it whenever you want to! We have lined up a guest to join us to discuss the book for the next episode!ShownotesBooks* The Story of Lucy Gault, by William Trevor* The Land Breakers, by John Ehle* Testing the Current, by William McPherson* Miss MacIntosh, My Darling, by Marguerite Young* Schattenfroh, by Michael Lenz, translated by Max Lawton* Lesser Ruins, by Mark Haber* Horror Movie, by Paul Tremblay* Universal Harvester, by John Darnielle* A Head Full of Ghosts, by Paul Tremblay* Cabin at the End of the Woods, by Paul Tremblay* The Indian Lake Trilogy, by Stephen Graham Jones* The Empathy Exams, by Leslie Jamison* In a Strange Room, by Damon Galgut* The Promise, by Damon Galgut* Open City, by Teju Cole* When We Cease to Understand the World, by Benjamin Labatut, translated by Adrian Nathan West* The MANIAC, by Benjamin Labatut* The Employees, by Olga Ravn, translated by Martin Aitken* Flights, by Olga Tokarczuk, translated by Jennifer Croft* Drive Your Plow Over the Bones of the Dead, by Olga Tokarczuk, translated by Antonia Lloyd-Jones Croft* The Books of Jacob, by Olga Tokarczuk, translated by Jennifer Croft* LaRose, by Louise Erdrich* Red Comet: The Short Life and Blazing Life of Sylvia Plath, by Heather Clark* Gilead, by Marilynne Robinson* Jonathan Strange and Mr. Norrell, by Susanna Clarke* Piranesi, by Susanna Clarke* Underland: A Deep Time Journey, by Robert Macfarlane* The Wild Places, by Robert Macfarlane* Reinhardt's Garden, by Mark Haber* Ducks, Newbury Port, by Lucy Ellmann* Your Face Tomorrow, by Javier Marías, translated by Margaret Jull Costa* The Road, by Cormac McCarthy* The Passenger, by Cormac McCarthy* Runaway, by Alice Munro* 2666, by Roberto Bolaño, translated by Natasha Wimmer* Train Dreams, by Denis Johnson* Tree of Smoke, by Denis Johnson* Interpreter of Maladies, by Jhumpa Lahiri* Austerlitz, by W.G. Sebald, translated by Anthea Belle* The Immigrants, by W.G. Sebald, translated by Michael Hulse* The Rings of Saturn, by W.G. Sebald, translated by Michael Hulse* Vertigo, by W.G. Sebald, translated by Michael Hulse* Blinding, by Mircea Cartarescu, translated by Sean Cotter* The Garden of Seven Twilights, by Miquel de Palol, translated by Adrian Nathan West* Antagony, by Luis Goytisolo, translated by Brendan Riley* Monument Maker, by David Keenan* Tomb of Sand, by Geetanjali Shree, translated by Daisy Rockwell* Praiseworthy, by Alexis Wright* Wizard of the Crow, by Ngugi wa Thiong'o* The Known World, Edward P. Jones* Hurricane Season, by Fernanda Melchor, translated by Sophie Hughes* The Twilight Zone, by Nona Fernandez, translated by Natasha Wimmer* Septology, by Jon Fosse, translated by Damion Searls* The Years, by Annie Ernaux, translated by Alison Strayer* In the Distance, by Hernan Diaz* Wolf Hall, by Hilary Mantel* My Struggle, by Karl Ove Knausgaard, translated by Don BartlettOther Links* The Untranslated* New York Times: 100 Best Books of the 21st CenturyThe Mookse and the Gripes Podcast is a book chat podcast. Every other week Paul and Trevor get together to talk about some bookish topic or another. We hope you'll continue to join us!SubscribeMany thanks to those who helped make this possible! If you'd like to donate as well, you can do so on Substack or on our Patreon page. These subscribers get periodic bonus episode and early access to all episodes! Every supporter has their own feed that he or she can use in their podcast app of choice to download our episodes a few days early. Please go check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

5 libri da leggere nell'estate 2024 fra Egitto, Palestina, Kenya, Algeria e fantascienza con 3 menzioni d'onore su Palestina ed ItaliaI 5 titoli: “Il racconto di un muro” di Nasser Abu Srour (Palestina)“Shubbek Lubbek” di Deena Mohamed (Egitto)“Arabilioso”, Antologia di futurismo arabo (Bahrain, Egitto, Iraq, Giordania, Libano, Palestina e Siria)“La casa grande” di Mohammed Dib (Algeria)“Un matrimonio benedetto” di Ngugi wa Thiong'o (Kenya)Le 3 menzioni d'onore: “Case di sale” di Hala Alyan (Palestina)“Non scusarti per quello che hai fatto” di Mahmoud Darwish (Palestina)“Manifesto dell'Islam Italiano” di Francesca Bocca-Aldaqre (Italia)Iscriviti al canale Telegram per guardare tutta la lista di tutti gli eventi (ad oggi) confermati ed avvisatemi se ne conoscete altri Qui trovi Medio Oriente e Dintorni Music, un mio podcast uscito 2 anni fa solo per Spotify in cui scoprirai la storia e le canzoni di artisti e band che hanno fatto (o stanno facendo) la storiaMentre qui trovate tutti i link di Medio Oriente e Dintorni: Linktree, ma, andando un po' nel dettaglio: -Tutti gli aggiornamenti sulla pagina instagram @medioorienteedintorni -Per articoli visitate il sito https://mediorientedintorni.com/ trovate anche la "versione articolo" di questo podcast. - Qui il link al canale Youtube- Podcast su tutte le principali piattaforme in Italia e del mondo-Vuoi tutte le uscite in tempo reale? Iscriviti al gruppo Telegram: https://t.me/mediorientedintorniOgni like, condivisione o supporto è ben accetto e mi aiuta a dedicarmi sempre di più alla mia passione: raccontare il Medio Oriente ed il "mondo islamico"

Welcome to the travel/literary podcast The Wandering Book Collector with host Michelle Jana Chan. This is a series of conversations with writers exploring what's informed their books and their lives around themes of movement, memory, sense of place, borders, identity, belonging and home.In this edition, I'm joined by the writer Jessi Jezewska Stevens, to discuss her book, Ghost Pains. Please consider supporting your local bookshop.If you're enjoying the podcast, I'd love you to leave a rating or a review. To learn about future editions, please subscribe or hit “follow” on your podcast app of choice. Thank you for listening!For more on the podcast, book recs, what books to pack for where's next, and who's up next, I'm across socials @michellejchan. I'd love to hear from you.And if you've missed any, do catch up. From Janine di Giovanni to Bernardine Evaristo to Afua Hirsch to Carla Power to Maaza Mengiste to Kapka Kassabova to Sara Wheeler to Brigid Delaney to Horatio Clare to Rebecca Mead to Preti Taneja to Kathryn D. Sullivan to Emmanuel Jal to Jennifer Steil to Winnie M Li to Mona Arshi to Tim Mackintosh-Smith to Karen Joy Fowler and Shannon Leone Fowler to Ariana Neumann to Anthony Sattin to Roger Robinson to Justin Marozzi to Frances Stonor Saunders to Osman Yousefzada to Kylie Moore-Gilbert to Doreen Cunningham to Ngũgĩ wa Thiong'o to Sophie Ward to Damian Le Bas to Hanne Ørstavik to Khashayar J Khabushani to Daljit Nagra to Ayọ̀bámi Adébáyọ̀ to Nastassja Martin to Ginanne Brownell to Hilary Bradt. All credit for sound effects goes to the artists and founders of Freesound.org and Zapsplat.com. All credit for music goes to the artists and founders of Soundstripe.com Hosted on Acast. See acast.com/privacy for more information.

Du très renommé Ngugi wa Thiong'o, à des auteurs plus contemporains comme Yvonne Adhiambo Owuor, la littérature kényane bourgeonne. Les lecteurs sont de plus en plus avides de récits locaux. Mais se faire publier reste un défi pour de nombreux écrivains, surtout à leurs débuts. Il faut parfois se tourner vers l'étranger ou publier à compte d'auteur. De notre correspondante à Nairobi,Les rayons de Soma Nami à Nairobi sont remplis d'auteurs du continent. La librairie indépendante se revendique panafricaine. Elle vient aussi de lancer sa propre maison d'édition. Wendy Njoroge, une des cofondatrices, explique : « Il y a des lacunes au Kenya en termes de publications d'œuvres de fiction ou de littérature non fictionnelle. Peu de maisons d'édition s'y risquent. Notre objectif, c'est de pouvoir faire découvrir des récits est-africains au reste du monde. Beaucoup de films sont tirés de livres. L'idée serait même que le livre soit une première étape pour nourrir un paysage plus large avec des histoires est-africaines. »Kiarie Kamau est bien conscient de ces lacunes, malgré des demandes du public pour de la littérature kényane. Il est PDG d'une maison d'édition et président de l'Association des éditeurs au Kenya. « Le secteur de l'édition est très dynamique au Kenya, mais principalement dans un domaine : celui des manuels scolaires, explique le professionnel de l'édition. Je dirais qu'ils représentent entre 85 à 90% des livres publiés. Et ce parce qu'ils assurent des revenus presque immédiats, surtout si l'on répond à un appel d'offres du gouvernement qui sont généralement payés dans les six à huit mois. Pour la fiction, la rentabilité est plus longue, ça demande aux maisons d'édition d'avoir plus de capital. »Publication à compte d'auteurFace à ces difficultés, Joan Thatiah a décidé d'auto-éditer ses œuvres. Elle le reconnaît, l'investissement est risqué. L'écrivaine dit avoir dépensé un peu plus de 1 500 euros pour obtenir 1 000 copies de son premier livre. « J'ai dû chercher un rédacteur, un designer pour le livre, puis il y a tout l'aspect juridique, les copyrights, et enfin l'impression qui coûte très cher, détaille-t-elle. Et à la fin, on ne sait pas si les livres vont se vendre. J'y ai mis toutes mes économies, c'était un vrai pari ! »Aujourd'hui, Joan ne regrette pas sa décision, car elle réussit désormais à vivre de son métier d'écrivaine. « C'est beaucoup de travail, mais pour moi, la publication à compte d'auteur est plus rentable que si j'étais passée par une maison d'édition », assure-t-elle. Sur ses neufs livres, seul un a été publié par une maison d'édition, au Nigeria. « Je tire comme profit environ 50% des revenus des livres vendus, contre 10% que me promettait une maison d'édition kényane », précise encore Joan Thatiah.Forte de cette expérience, l'écrivaine aide aujourd'hui les plumes kényanes débutantes à naviguer dans le milieu de l'autoédition et ainsi encourager l'essor de la littérature kényane.

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Literary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. Magalí Armillas-Tiseyra's book The Dictator Novel: Writers and Politics in the Global South (Northwestern UP, 2019) positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel García Márquez, Ngũgĩ wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, José Mármol, Esteban Echeverría, Ousmane Sembène, Chinua Achebe, Aminata Sow Fall, Henri Lopès, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Literary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. Magalí Armillas-Tiseyra's book The Dictator Novel: Writers and Politics in the Global South (Northwestern UP, 2019) positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel García Márquez, Ngũgĩ wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, José Mármol, Esteban Echeverría, Ousmane Sembène, Chinua Achebe, Aminata Sow Fall, Henri Lopès, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Literary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. Magalí Armillas-Tiseyra's book The Dictator Novel: Writers and Politics in the Global South (Northwestern UP, 2019) positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel García Márquez, Ngũgĩ wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, José Mármol, Esteban Echeverría, Ousmane Sembène, Chinua Achebe, Aminata Sow Fall, Henri Lopès, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Literary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. Magalí Armillas-Tiseyra's book The Dictator Novel: Writers and Politics in the Global South (Northwestern UP, 2019) positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel García Márquez, Ngũgĩ wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, José Mármol, Esteban Echeverría, Ousmane Sembène, Chinua Achebe, Aminata Sow Fall, Henri Lopès, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

How did superpower competition and the cold war affect writers in the decolonizing world? In the book The Aesthetic Cold War, Peter Kalliney explores the various ways that rival states used cultural diplomacy and the political police to influence writers. In response, many writers from Africa, Asia, and the Caribbean—such as Chinua Achebe, Mulk Raj Anand, Eileen Chang, C.L.R. James, Alex La Guma, Doris Lessing, Ngũgĩ wa Thiong'o, and Wole Soyinka —carved out a vibrant conceptual space of aesthetic nonalignment, imagining a different and freer future for their work. With us today is the book's author Peter J. Kalliney. Dr. Kalliney is Professor of  English at the University of Kentucky. His books include Cities of Affluence and Anger, Commonwealth of Letters, and Modernism in a Global Context.Recommended Reading:Peter J. Kalliney, The Aesthetic Cold War: Decolonization and Global Literature, 2022This podcast is sponsored by Riverside, the most efficient platform for video recording and editing for podcasters.Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

Literature has always played a key role in social and political life in Africa, even when it is not deliberately or obviously activist in its aims or form.African writers like Ngugi wa Thiong'o, Chinua Achebe, Obi Wali and poets Christopher Okigbo and Stella Nyanzi have long been seen as key thinkers and engaged intellectuals.Tracing this history, this lecture shows how creative work changes society and discusses the role of literary collectives such as Chimureng, Jalada, and Bakwa.A lecture by Madhu Krishnan recorded on 12 October 2023 at Barnard's Inn Hall, LondonThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/watch-now/literary-africaGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://gresham.ac.uk/support/Website:  https://gresham.ac.ukTwitter:  https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeSupport the show

Free Newsletter to learn German: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://expertlygerman.com/ebook/⁠⁠⁠⁠⁠⁠⁠⁠⁠  ============================= 10-Week Programme (Apply): ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://forms.gle/2GLetWGkw793ZnQH8⁠⁠⁠⁠⁠⁠⁠⁠  ============================= Books mentioned by Joanita: 1. Kintu by Jennifer Nansubuga Makumbi (https://www.goodreads.com/en/book/show/23286828) 2. Weep Not, Child by Ngũgĩ wa Thiong'o (https://www.goodreads.com/en/book/show/159336) ============================= Social Media: Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/expertlygerman/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCGyOkcUw1b3B_hb5G2klsTg⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://expertlygerman.com/learn-german-podcast/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ==== Private lessons (limited availability): ⁠⁠⁠⁠https://expertlygerman.com/private-german-lessons/⁠

The great Kenyan writer Ngũgĩ wa Thiong'o joins us to speak about his career, his influences, and the power and politics of language.

How one of Kenya's greatest writers came to argue that African literature should be written in African languages.

In this episode, renowned Kenyan writer and thinker Ngūgī wa Thiong'o discusses crucial issues in African literature including the 1962 African Writers Conference in Kampala, language use and the specter of (neo)colonialism in literary productions and African development. He also talks about sociopolitical issues in contemporary Africa as well as personal challenges he's faced in the past few years. Co-Host: Dr. Baba Badji (Presidential Postdoctoral Fellow in the Department of French and the Department of English, Rutgers University)  Music by Xuman and Keyti. We thank Xuman and Keyti of the Journal Rappé for allowing us to use the songs below in this episode. https://www.youtube.com/watch?v=-9edJOJa_O4 https://www.youtube.com/watch?v=F5MZnUbygGo   

The Kenyan novelist's life and work has intersected with many of the biggest events of the past century. At 85, he reflects on his long, uncompromising life in writing. Help support our independent journalism at theguardian.com/longreadpod

¿Cómo crear nuevas antenas de producción cultural fuera de Occidente? ¿Cómo contar el tercer mundo desde nuestras propias ópticas sin pasar por el filtro eurocentrista? Tomando como punto de partida el libro "Desplazar el centro", del keniano Ngũgĩ wa Thiong'o, conversamos con una editora y un librero afrodescendientes que nos proponen lecturas con referentes afro a lo largo del mundo. Conduce Omar Beretta y Miguel Buendia como conductor invitado :) Con la participación deZinthia Álvarez @negrasquecambiaronelmundo Ken Province @dr.mackandal y @united.minds.libros Y la colaboración de Silvia Villalba @silvillalbap

Located on the east coast of Africa, Kenya is a fantastic place to explore Swahili culture and get close to exotic wildlife — lions, elephants, cheetahs, giraffes, impalas, gazelles, warthogs, wildebeests, and so many birds. The capital city of Nairobi sits on a plateau between the Indian Ocean (hello, picturesque beaches!) and the Great Rift Valley (lush green hills, blue lakes, hot pink flamingoes). Nairobi hums with energy and everything you'd expect in a major capital. The city also gets a little wild — literally — with Nairobi National Park inside the city limits. As you might expect in Africa, Kenyan history is basically two big buckets: before colonialism and after. The rich influences that led to the Swahili culture — Arab, Persian, Indian, and African — are all on display in cities like Mombasa. Wander the narrow alleys and take in the romantic architecture, then cruise on a white-sailed dhow to the nearby island of Zanzibar.  Outside the cities, get ready for outdoor adventures with a jeep safari, a hike on Mt. Kenya, a cycling tour through Hell's Gate (!), or a visit to a Maasai village to experience their traditional lifestyle. In this episode, we daydream about safari animals, listen to African music, and explore why Kenyans are such fantastic runners. Then we recommend five great books that transported us to Kenya on the page. Here are the books about Kenya we recommend on the show: Dust by Yvonne Adhiambo Owuor West with the Night by Beryl Markham The Perfect Nine: The Epic of Gĩkũyũ and Mũmbi by Ngũgĩ wa Thiong'o — and the audiobook When Stars Are Scattered by Victoria Jamieson & Omar Mohamed — and the audiobook A Guide to the Birds of East Africa: A Novel by Nicholas Drayson For more on the books we recommend, plus the other cool stuff we talk about, visit our show notes. Transcript of Kenya: Hurrying Has No Blessing. Do you enjoy our show? Do you want access to awesome bonus content?  Please support our work on Patreon! Every little bit helps us keep the show going and makes us feel warm and fuzzy inside. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's guest, novelist, storyteller, essayist, playwright, scholar, translator, and perennial front-runner for the Nobel Prize in Literature Ngũgĩ wa Thiong'o, is an iconic figure in postcolonial thought. His latest book, The Language of Languages, is the first book dedicated to his writings on translation and the status of African languages, globally and in Africa today, […] The post Ngũgĩ wa Thiong'o : The Language of Languages appeared first on Tin House.

David Lloyd speaks with the world-renowned Kenyan novelist, playwright and poet, critic and widely influential postcolonial theorist, Ngũgĩ wa Thiong'o. They explore the problem of colonization of languages, his commitment to writing in his native language, and his incarceration and exile for political dissidence. And with the panel they discuss a new book of essays … Continue reading Scholars' Circle – De-Colonizing the Mind, Language, Culture in the American Imperium – Feb. 26, 2023 →

Dr. Walter Anthony Rodney (March 23, 1942 – June 13, 1980) Although it has been over forty years since the cowardly and brutal assassination of our dearly beloved brother Dr. Walter Anthony Rodney (aka Dr. W.A.R.), his intrepid spirit lives on with us today. While the quisling, pelf worshipping assassins succeeded in destroying Dr. Rodney physically, they paradoxically immortalized him. Dr. Rodney's life was/is the personification of an uncompromised intellectual who committed, what Amilcar Cabral called, class suicide in service of the people. Assiduously devoted to theory and practice, or better said conscientization, the life of Dr. Walter Anthony Rodney, from an African cosmological perspective, can be seen as an orisha or loi. The relevance of Dr. Walter Rodney's life and work is now an eternal guiding principal or law that future generations can call upon to fortify themselves when in struggle and service to the people. In this episode of Conscientization 101 Podcast, we proudly present a Conscientization 101 digitally remastered disquisition by Dr. Walter Anthony Rodney called Crisis in the Periphery: Africa and the Caribbean. In addition, we also discuss the following: Walter Anthony Rodney's magnum opus How Europe Underdeveloped Africa Cultural hegemony as it relates to the European worldview The recent passing of novelist, essayist, and poet George Lamming, and his relationship to the work of Dr. Walter Anthony Rodney The writings of Ngũgĩ wa Thiong'o and how they relate to Dr. Walter Anthony Rodney. Also, the coincidental relationship between us finishing Ngũgĩ wa Thiong'o's novel Devil on the Cross in 2012, with the release of Akala's 2013 album The Thieves Banquet and much more, such as our charm, ironic humor, sardonic quips, and wit to boot! You do not want to miss this episode!   This episode features music from: Cyclonious – “We Back At it” from his album Heroes For Hire 2 Conscientization 101– "Decolonize This? Properly Defining Settlers – Part 1" from our Musical Commentaries collection Akala – “The Thieves Banquet” from his album The Thieves Banquet Raggo Zulu Rebel – “99 Names” from his album God Complex Cyclonious – “Live Up” from his album Heroes For Hire  Books referenced in this episode: Walter Rodney Speaks: The Making of an African Intellectual by Walter Rodney How Europe Underdeveloped Africa by Walter Rodney A History of the Guyanese Working People, 1881-1905 by Walter Rodney Decolonial Marxism: Essays From The Pan-African Revolution by Walter Rodney The Russian Revolution: A View from the Third World by Walter Rodney Devil on the Cross by Ngũgĩ wa Thiong'o Petals of Blood by Ngũgĩ wa Thiong'o A Grain of Wheat by Ngũgĩ wa Thiong'o In the Castle of My Skin by George Lamming  

In this episode, Ms. Angela Njehia tells us that despite our leaders passing various policies, sustainability isnot just a thing of the leaders; it is a collective responsibility for each one of us to ensure that we survive; find and explore the different ways to doing things to achieve more sustainable solutions and results for our environment. Ms. Angela Njehia is a Founding member and Director of Tierranjani Africa, a Boutique Tourism Consultancy based in Nairobi that operates across Africa. She has 15years of experience in sustainable tourism working in Kenya and across Africa. Angela has extensive knowledge of African tourism currently having a footprint of her work in over 10 African countries, having worked as a tourism practitioner and later transitioned to tourism development.  Angela is the first East African to be accredited as a Hospitality Food Waste Management consultant through The Pledge; and a certified coach and auditor of the Green destinations.  www.tierranjaniafrica.com  Book recommendations: Dreams in a Time of War by Ngugi wa Thiong'o  The Leader who had no Title by Robin Sharma 

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!James Mercer Langston Hughes was born February 1, 1901, in Joplin, Missouri. Hughes's birth year was revised from 1902 to 1901 after new research from 2018 uncovered that he had been born a year earlier. His parents divorced when he was a young child, and his father moved to Mexico. He was raised by his grandmother until he was thirteen, when he moved to Lincoln, Illinois, to live with his mother and her husband, before the family eventually settled in Cleveland, Ohio. It was in Lincoln that Hughes began writing poetry. After graduating from high school, he spent a year in Mexico followed by a year at Columbia University in New York City. During this time, he worked as an assistant cook, launderer, and busboy. He also travelled to Africa and Europe working as a seaman. In November 1924, he moved to Washington, D.C. Hughes's first book of poetry, The Weary Blues, (Knopf, 1926) was published by Alfred A. Knopf in 1926 with an introduction by Harlem Renaissance arts patron Carl Van Vechten. Criticism of the book from the time varied, with some praising the arrival of a significant new voice in poetry, while others dismissed Hughes's debut collection. He finished his college education at Lincoln University in Pennsylvania three years later. In 1930 his first novel, Not Without Laughter(Knopf, 1930), won the Harmon gold medal for literature.Hughes, who claimed Paul Laurence Dunbar, Carl Sandburg, and Walt Whitman as his primary influences, is particularly known for his insightful portrayals of black life in America from the twenties through the sixties. He wrote novels, short stories, plays, and poetry, and is also known for his engagement with the world of jazz and the influence it had on his writing, as in his book-length poem Montage of a Dream Deferred (Holt, 1951). His life and work were enormously important in shaping the artistic contributions of the Harlem Renaissance of the 1920s. Unlike other notable black poets of the period such as Claude McKay, Jean Toomer, and Countee Cullen, Hughes refused to differentiate between his personal experience and the common experience of black America. He wanted to tell the stories of his people in ways that reflected their actual culture, including their love of music, laughter, and language itself alongside their suffering.In addition to leaving us a large body of poetic work, Hughes wrote eleven plays and countless works of prose, including the well-known “Simple” books: Simple Speaks His Mind (Simon & Schuster, 1950); Simple Stakes a Claim (Rinehart, 1957); Simple Takes a Wife (Simon & Schuster, 1953); and Simple's Uncle Sam (Hill and Wang, 1965). He edited the anthologies The Poetry of the Negro and The Book of Negro Folklore, wrote an acclaimed autobiography, The Big Sea (Knopf, 1940), and cowrote the play Mule Bone (HarperCollins, 1991) with Zora Neale Hurston.Langston Hughes died of complications from prostate cancer on May 22, 1967, in New York City. In his memory, his residence at 20 East 127th Street in Harlem has been given landmark status by the New York City Preservation Commission, and East 127th Street has been renamed “Langston Hughes Place.”From https://poets.org/poet/langston-hughes. For more information about Langston Hughes:Previously on The Quarantine Tapes:Ngũgĩ wa Thiong'o about Hughes, at 16:05: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-137-ngg-wa-thiongo“Song for Billie Holiday”: http://stephenfrug.blogspot.com/2013/08/poem-of-day-langston-hughes-song-for.htmlSelected Poems of Langston Hughes: https://www.penguinrandomhouse.com/books/84090/selected-poems-of-langston-hughes-by-langston-hughes/“Religion ‘around' Langston Hughes, Billie Holiday, and Ralph Ellison”: https://aas.princeton.edu/news/roundtable-conversation-religion-around-langston-hughes-billie-holiday-and-ralph-ellison“Langston Hughes: The People's Poet”: https://nmaahc.si.edu/explore/stories/langston-hughes-peoples-poet“Langston Hughes”: https://www.poetryfoundation.org/poets/langston-hughes“Langston Hughes Papers”: https://beinecke.library.yale.edu/collections/highlights/langston-hughes-papers

How did superpower competition and the cold war affect writers in the decolonizing world? In The Aesthetic Cold War: Decolonization and Global Literature (Princeton UP, 2022), Peter Kalliney explores the various ways that rival states used cultural diplomacy and the political police to influence writers. In response, many writers from Africa, Asia, and the Caribbean—such as Chinua Achebe, Mulk Raj Anand, Eileen Chang, C.L.R. James, Alex La Guma, Doris Lessing, Ngũgĩ wa Thiong'o, and Wole Soyinka—carved out a vibrant conceptual space of aesthetic nonalignment, imagining a different and freer future for their work. Kalliney looks at how the United States and the Soviet Union, in an effort to court writers, funded international conferences, arts centers, book and magazine publishing, literary prizes, and radio programming. International spy networks, however, subjected these same writers to surveillance and intimidation by tracking their movements, tapping their phones, reading their mail, and censoring or banning their work. Writers from the global south also suffered travel restrictions, deportations, imprisonment, and even death at the hands of government agents. Although conventional wisdom suggests that cold war pressures stunted the development of postcolonial literature, Kalliney's extensive archival research shows that evenly balanced superpower competition allowed savvy writers to accept patronage without pledging loyalty to specific political blocs. Likewise, writers exploited rivalries and the emerging discourse of human rights to contest the attentions of the political police. A revisionist account of superpower involvement in literature, The Aesthetic Cold War considers how politics shaped literary production in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How did superpower competition and the cold war affect writers in the decolonizing world? In The Aesthetic Cold War: Decolonization and Global Literature (Princeton UP, 2022), Peter Kalliney explores the various ways that rival states used cultural diplomacy and the political police to influence writers. In response, many writers from Africa, Asia, and the Caribbean—such as Chinua Achebe, Mulk Raj Anand, Eileen Chang, C.L.R. James, Alex La Guma, Doris Lessing, Ngũgĩ wa Thiong'o, and Wole Soyinka—carved out a vibrant conceptual space of aesthetic nonalignment, imagining a different and freer future for their work. Kalliney looks at how the United States and the Soviet Union, in an effort to court writers, funded international conferences, arts centers, book and magazine publishing, literary prizes, and radio programming. International spy networks, however, subjected these same writers to surveillance and intimidation by tracking their movements, tapping their phones, reading their mail, and censoring or banning their work. Writers from the global south also suffered travel restrictions, deportations, imprisonment, and even death at the hands of government agents. Although conventional wisdom suggests that cold war pressures stunted the development of postcolonial literature, Kalliney's extensive archival research shows that evenly balanced superpower competition allowed savvy writers to accept patronage without pledging loyalty to specific political blocs. Likewise, writers exploited rivalries and the emerging discourse of human rights to contest the attentions of the political police. A revisionist account of superpower involvement in literature, The Aesthetic Cold War considers how politics shaped literary production in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

How did superpower competition and the cold war affect writers in the decolonizing world? In The Aesthetic Cold War: Decolonization and Global Literature (Princeton UP, 2022), Peter Kalliney explores the various ways that rival states used cultural diplomacy and the political police to influence writers. In response, many writers from Africa, Asia, and the Caribbean—such as Chinua Achebe, Mulk Raj Anand, Eileen Chang, C.L.R. James, Alex La Guma, Doris Lessing, Ngũgĩ wa Thiong'o, and Wole Soyinka—carved out a vibrant conceptual space of aesthetic nonalignment, imagining a different and freer future for their work. Kalliney looks at how the United States and the Soviet Union, in an effort to court writers, funded international conferences, arts centers, book and magazine publishing, literary prizes, and radio programming. International spy networks, however, subjected these same writers to surveillance and intimidation by tracking their movements, tapping their phones, reading their mail, and censoring or banning their work. Writers from the global south also suffered travel restrictions, deportations, imprisonment, and even death at the hands of government agents. Although conventional wisdom suggests that cold war pressures stunted the development of postcolonial literature, Kalliney's extensive archival research shows that evenly balanced superpower competition allowed savvy writers to accept patronage without pledging loyalty to specific political blocs. Likewise, writers exploited rivalries and the emerging discourse of human rights to contest the attentions of the political police. A revisionist account of superpower involvement in literature, The Aesthetic Cold War considers how politics shaped literary production in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies

How did superpower competition and the cold war affect writers in the decolonizing world? In The Aesthetic Cold War: Decolonization and Global Literature (Princeton UP, 2022), Peter Kalliney explores the various ways that rival states used cultural diplomacy and the political police to influence writers. In response, many writers from Africa, Asia, and the Caribbean—such as Chinua Achebe, Mulk Raj Anand, Eileen Chang, C.L.R. James, Alex La Guma, Doris Lessing, Ngũgĩ wa Thiong'o, and Wole Soyinka—carved out a vibrant conceptual space of aesthetic nonalignment, imagining a different and freer future for their work. Kalliney looks at how the United States and the Soviet Union, in an effort to court writers, funded international conferences, arts centers, book and magazine publishing, literary prizes, and radio programming. International spy networks, however, subjected these same writers to surveillance and intimidation by tracking their movements, tapping their phones, reading their mail, and censoring or banning their work. Writers from the global south also suffered travel restrictions, deportations, imprisonment, and even death at the hands of government agents. Although conventional wisdom suggests that cold war pressures stunted the development of postcolonial literature, Kalliney's extensive archival research shows that evenly balanced superpower competition allowed savvy writers to accept patronage without pledging loyalty to specific political blocs. Likewise, writers exploited rivalries and the emerging discourse of human rights to contest the attentions of the political police. A revisionist account of superpower involvement in literature, The Aesthetic Cold War considers how politics shaped literary production in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

How did superpower competition and the cold war affect writers in the decolonizing world? In The Aesthetic Cold War: Decolonization and Global Literature (Princeton UP, 2022), Peter Kalliney explores the various ways that rival states used cultural diplomacy and the political police to influence writers. In response, many writers from Africa, Asia, and the Caribbean—such as Chinua Achebe, Mulk Raj Anand, Eileen Chang, C.L.R. James, Alex La Guma, Doris Lessing, Ngũgĩ wa Thiong'o, and Wole Soyinka—carved out a vibrant conceptual space of aesthetic nonalignment, imagining a different and freer future for their work. Kalliney looks at how the United States and the Soviet Union, in an effort to court writers, funded international conferences, arts centers, book and magazine publishing, literary prizes, and radio programming. International spy networks, however, subjected these same writers to surveillance and intimidation by tracking their movements, tapping their phones, reading their mail, and censoring or banning their work. Writers from the global south also suffered travel restrictions, deportations, imprisonment, and even death at the hands of government agents. Although conventional wisdom suggests that cold war pressures stunted the development of postcolonial literature, Kalliney's extensive archival research shows that evenly balanced superpower competition allowed savvy writers to accept patronage without pledging loyalty to specific political blocs. Likewise, writers exploited rivalries and the emerging discourse of human rights to contest the attentions of the political police. A revisionist account of superpower involvement in literature, The Aesthetic Cold War considers how politics shaped literary production in the twentieth century. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

How did superpower competition and the cold war affect writers in the decolonizing world? In The Aesthetic Cold War: Decolonization and Global Literature (Princeton UP, 2022), Peter Kalliney explores the various ways that rival states used cultural diplomacy and the political police to influence writers. In response, many writers from Africa, Asia, and the Caribbean—such as Chinua Achebe, Mulk Raj Anand, Eileen Chang, C.L.R. James, Alex La Guma, Doris Lessing, Ngũgĩ wa Thiong'o, and Wole Soyinka—carved out a vibrant conceptual space of aesthetic nonalignment, imagining a different and freer future for their work. Kalliney looks at how the United States and the Soviet Union, in an effort to court writers, funded international conferences, arts centers, book and magazine publishing, literary prizes, and radio programming. International spy networks, however, subjected these same writers to surveillance and intimidation by tracking their movements, tapping their phones, reading their mail, and censoring or banning their work. Writers from the global south also suffered travel restrictions, deportations, imprisonment, and even death at the hands of government agents. Although conventional wisdom suggests that cold war pressures stunted the development of postcolonial literature, Kalliney's extensive archival research shows that evenly balanced superpower competition allowed savvy writers to accept patronage without pledging loyalty to specific political blocs. Likewise, writers exploited rivalries and the emerging discourse of human rights to contest the attentions of the political police. A revisionist account of superpower involvement in literature, The Aesthetic Cold War considers how politics shaped literary production in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

How did superpower competition and the cold war affect writers in the decolonizing world? In The Aesthetic Cold War: Decolonization and Global Literature (Princeton UP, 2022), Peter Kalliney explores the various ways that rival states used cultural diplomacy and the political police to influence writers. In response, many writers from Africa, Asia, and the Caribbean—such as Chinua Achebe, Mulk Raj Anand, Eileen Chang, C.L.R. James, Alex La Guma, Doris Lessing, Ngũgĩ wa Thiong'o, and Wole Soyinka—carved out a vibrant conceptual space of aesthetic nonalignment, imagining a different and freer future for their work. Kalliney looks at how the United States and the Soviet Union, in an effort to court writers, funded international conferences, arts centers, book and magazine publishing, literary prizes, and radio programming. International spy networks, however, subjected these same writers to surveillance and intimidation by tracking their movements, tapping their phones, reading their mail, and censoring or banning their work. Writers from the global south also suffered travel restrictions, deportations, imprisonment, and even death at the hands of government agents. Although conventional wisdom suggests that cold war pressures stunted the development of postcolonial literature, Kalliney's extensive archival research shows that evenly balanced superpower competition allowed savvy writers to accept patronage without pledging loyalty to specific political blocs. Likewise, writers exploited rivalries and the emerging discourse of human rights to contest the attentions of the political police. A revisionist account of superpower involvement in literature, The Aesthetic Cold War considers how politics shaped literary production in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

How did superpower competition and the cold war affect writers in the decolonizing world? In The Aesthetic Cold War: Decolonization and Global Literature (Princeton UP, 2022), Peter Kalliney explores the various ways that rival states used cultural diplomacy and the political police to influence writers. In response, many writers from Africa, Asia, and the Caribbean—such as Chinua Achebe, Mulk Raj Anand, Eileen Chang, C.L.R. James, Alex La Guma, Doris Lessing, Ngũgĩ wa Thiong'o, and Wole Soyinka—carved out a vibrant conceptual space of aesthetic nonalignment, imagining a different and freer future for their work. Kalliney looks at how the United States and the Soviet Union, in an effort to court writers, funded international conferences, arts centers, book and magazine publishing, literary prizes, and radio programming. International spy networks, however, subjected these same writers to surveillance and intimidation by tracking their movements, tapping their phones, reading their mail, and censoring or banning their work. Writers from the global south also suffered travel restrictions, deportations, imprisonment, and even death at the hands of government agents. Although conventional wisdom suggests that cold war pressures stunted the development of postcolonial literature, Kalliney's extensive archival research shows that evenly balanced superpower competition allowed savvy writers to accept patronage without pledging loyalty to specific political blocs. Likewise, writers exploited rivalries and the emerging discourse of human rights to contest the attentions of the political police. A revisionist account of superpower involvement in literature, The Aesthetic Cold War considers how politics shaped literary production in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

How did superpower competition and the cold war affect writers in the decolonizing world? In The Aesthetic Cold War: Decolonization and Global Literature (Princeton UP, 2022), Peter Kalliney explores the various ways that rival states used cultural diplomacy and the political police to influence writers. In response, many writers from Africa, Asia, and the Caribbean—such as Chinua Achebe, Mulk Raj Anand, Eileen Chang, C.L.R. James, Alex La Guma, Doris Lessing, Ngũgĩ wa Thiong'o, and Wole Soyinka—carved out a vibrant conceptual space of aesthetic nonalignment, imagining a different and freer future for their work. Kalliney looks at how the United States and the Soviet Union, in an effort to court writers, funded international conferences, arts centers, book and magazine publishing, literary prizes, and radio programming. International spy networks, however, subjected these same writers to surveillance and intimidation by tracking their movements, tapping their phones, reading their mail, and censoring or banning their work. Writers from the global south also suffered travel restrictions, deportations, imprisonment, and even death at the hands of government agents. Although conventional wisdom suggests that cold war pressures stunted the development of postcolonial literature, Kalliney's extensive archival research shows that evenly balanced superpower competition allowed savvy writers to accept patronage without pledging loyalty to specific political blocs. Likewise, writers exploited rivalries and the emerging discourse of human rights to contest the attentions of the political police. A revisionist account of superpower involvement in literature, The Aesthetic Cold War considers how politics shaped literary production in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies