Combining postcolonial perspectives with race and culture based studies, which have merged the fields of African and black American studies, this volume concentrates on women writers, exploring how the (post) colonial condition is reflected in women's literature. The essays are united by their focus on attempts to create alternative value systems through the rewriting of history or the reclassification of the woman's position in society. By examining such strategies these essays illuminate the diversity and coherence of the postcolonial project.

This work examines the work of a group of African women writers who have emerged over the last forty years. While figures such as Chinua Achebe, Ben Okri and Wole Soyinka are likely to be the chief focus of discussions of African writing, female authors have been at the forefront of fictional interrogations of identity formation and history. In the work of authors such as Mariama Bâ (Senegal), Buchi Emecheta (Nigeria), Chimamanda Ngozi Adichie (Nigeria), Tsitsi Dangarembga (Zimbabwe), and Leila Aboulela (Sudan), there is a clear attempt to subvert the tradition of male writing where the female characters are often relegated to the margins of the culture, and confined to the domestic, private sphere. This body of work has already generated a significant number of critical responses, including readings that draw on gender politics and colonialism, but it is still very much a minor literature, and most mainstream western feminism has not sufficiently processed it. The purpose of this book is three-fold. First, it draws together some of the most important and influential African women writers of the post-war period and looks at their work, separately and together, in terms of a series of themes and issues, including marriage, family, polygamy, religion, childhood, and education. Second, it demonstrates how African literature produced by women writers is explicitly and polemically engaged with urgent political issues that have both local and global resonance: the veil, Islamophobia and a distinctively African brand of feminist critique. Third, it revisits Fredric Jameson’s claim that all third-world texts are “national allegories” and considers these novels by African women in relation to Jameson’s claim, arguing that their work has complicated Jameson’s assumptions.

African women’s history is a vast topic that embraces a wide variety of societies in over 50 countries with different geographies, social customs, religions, and historical situations. Africa is a predominantly agricultural continent, and a major factor in African agriculture is the central role of women as farmers. It is estimated that between 65 and 80 percent of African women are engaged in cultivating food for their families, and in the past that percentage was likely even higher. Thus, one common thread across much of the continent is women’s daily work in their family plot. This second edition of Historical Dictionary of Women in Sub-Saharan Africa contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on individual African women in history, politics, religion, and the arts; on important events, organizations, and publications; and on topics important to women in general (marriage, fertility, employment) and to African women in particular (market women, child marriage, queen mothers). This book is an excellent access point for students, researchers, and anyone wanting to know more about the Women in Africa.

This book represents a significant contribution to academic knowledge, making a compelling case for a contemporary analytical re-reading of a number of “core” postcolonial women’s narratives, such as Erna Brodber’s Jane and Louisa Will Soon Come Home, Buchi Emecheta’s The Joys of Motherhood, and Mariama Bâ’s So Long a Letter. These narratives highlight diversity, contextuality, opposition, and metachrony, have a “generative literary function”, and anticipate what have now become postcolonial feminist issues and debates. Bringing together feminist writing from a range of postcolonial contexts, the book contributes to a field represented by the critical writings of Francoise Lionnet, Ketu Katrak, and Elleke Boehmer, among others. The deconstructive, cultural approach of the book is mobilised to support an in-depth literary analysis which focuses on female oppression, difference, voice, and agency. Questions of what it means to be “a woman” and to be “postcolonial” are read as central debates which emphasise “multi-vocal and multi-focal” female narratives and perspectives. That is, they highlight the temporal, as well as cross-cultural links and implications of the selected narratives, which give the project a kind of positive complexity and linkage. Above all, the analysis of several unconventional modes and (physical/imaginative) spaces of female resistance, such as prison, widow confinement, and madness, yields some surprising results that are sustained by a close reading of the texts which are not only attentive to questions of genre, structure, imagery and narrative endings, but also oppositional, instructive and reconstructive.

21 Female Participation in War and the Implication of Nationalism: The Postcolonial Disconnection in Buchi Emecheta's Destination Biafra -- Select Bibliography -- Index

"Postnational Feminisms: Postcolonial Identities and Cosmopolitanism in the Works of Kamala Markandaya, Tsitsi Dangarembga, Ama Ata Aidoo, and Anita Desai offers a significant contribution to the field of postcolonial and Third World feminist studies. It reevaluates the ways in which Third World women writers interrogate the relationship between woman and nation in the postcolonial context. Hena Ahmad brings forth the concept of "postnational feminism", which she deploys to show how these major writers challenge the role of women as signifiers of national cultures in their works. This innovative concept illuminates the ambivalence of these uniquely positioned writers as Ahmad explores the connection between postnationalism and Third World feminism." -- BOOK JACKET.

African American Women's Rhetoric: The Search for Dignity, Personhood, and Honor deals with the rhetoric of African American women from enslavement to current times, examining slave narratives and contemporary print, music, and other media surrounding the lives of African American women. Covering a variety of specific women and their rhetoric within the context of a historical period, the book provides central themes and strategic and social concerns of African American women and their environment. It frames, in some, cases, the rhetoric of contemporary women in politics and other fields of prominence_including Condoleeza Rice and Barbara Lee, among others. Deborah F. Atwater explores how African women today who engage in speech in the public sphere come from a historical line of active women who have been outspoken in politics, education, business, and various social contexts; heretofore, these women have not been studied in a comprehensive manner. Specifically, how do these African American women discuss themselves, and_more importantly_how do they represent who they are in various communities? How do these women persuade their diverse audiences to value what they say and who they are?African American Women's Rhetoric will be an invaluable contribution to upper-division undergraduate and graduate courses in Rhetoric, African American Rhetoric, History, and Women's Studies.

This collection poses two overarching questions: Is there a role for the literary imagination in postcolonial studies? And where might one locate South Africa or, more generally, South/African perspectives, in a field delineated primarily by northern institutional purposes and practices? While engaging with contemporary debates the essays seek to turn current postcolonial emphases on theoretical formulations and issue-driven interpretation towards the subjective experience of literary texts in specific contexts. The Introduction, “Postcolonialism: A Literary Turn”, suggests a template of ‘late postcolonialism’ beyond empires writing back to the centre. Instead, ongoing challenges include settler identity, past and present; independent or compromised African/diasporic voices; the character of the postcolony in which the pre-modern, modern, and postmodern contest a single though heterogeneous place, or space; and the ‘voicing’ of the silent subaltern alongside the ‘postcolonialising’ of Nobel laureates Nadine Gordimer and J.M. Coetzee. Despite the utopian political pronouncements of many postcolonial projects (the West’s own undoing) this collection wishes to stimulate us—students, academics—to see afresh, and comparatively, across worlds. In this, a literary turn may achieve an ethical dimension.

This book charts an interdisciplinary narrative of literary pragmatism and creative democracy across the writings of African American women, from the works of nineteenth-century philosophers to the novels and short stories of Harlem Renaissance authors. The book argues that this critically neglected narrative forms a genealogy of black feminist intersectionality and a major contribution to the development of American pragmatism. Bringing together the philosophical writings of Maria Stewart, Anna Julia Cooper, and Mary Church Terrell and the fictional works of Jessie Fauset, Nella Larsen, and Zora Neale Hurston, this text provides a literary pragmatist study of the archetypes, tropes, settings, and modes of resistance that populate the narrative of creative democracy. Above all, this book considers how these philosophers and authors construct democracy as a lived experience that gains meaning not through state institutions but through communities founded on relationships among black women and their shared understandings of culture, knowledge, experience, and rebellion.

What makes someone an authority? What makes one person's knowledge more credible than another's? In the ongoing debates over racial authenticity, some attest that we can know each other's experiences simply because we are all "human," while others assume a more skeptical stance, insisting that racial differences create unbridgeable gaps in knowledge. Bringing new perspectives to these perennial debates, the essays in this collection explore the many difficulties created by the fact that white scholars greatly outnumber black scholars in the study and teaching of African American literature. Contributors, including some of the most prominent theorists in the field as well as younger scholars, examine who is speaking, what is being spoken and what is not, and why framing African American literature in terms of an exclusive black/white racial divide is problematic and limiting. In highlighting the "whiteness" of some African Americanists, the collection does not imply that the teaching or understanding of black literature by white scholars is definitively impossible. Indeed such work is not only possible, but imperative. Instead, the essays aim to open a much needed public conversation about the real and pressing challenges that white scholars face in this type of work, as well as the implications of how these challenges are met.