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A short story is presented.

This book is about Africa in the postcolonial trend of thinking and mutual representations of peoples of different cultures. From a literary approach and culture-based illustrations, the essay explores postcolonial ideas, realities and discourses in African letters and politics. It deals also with political perspectives and solutions relating to the causes and consequences of the connection between the African youth and terrorism and their link with migration as well as leadership.

This article seeks to contribute to critical readings of realism's mimetic claims by tracing how framed narration, or writing-about-writing, establishes reliability in Chimamanda Ngozi Adichie's seminal novel Half of a Yellow Sun (2006). Conceptions of typicality are used almost interchangeably in scholarly discussions about realism and Africanness without a critical framework that untangles the myriad links between them. To fill this lacuna, I provide a theoretical exploration of how typicality and typification, as two modes of characterization, connect fiction and reference in Adichie's novel. Focusing on the diegetic layering in Half of a Yellow Sun, I show how Africanness and realism are negotiated as two kinds of typicality that work, counterintuitively, to undercut stereotypes. Building on Adichie's now-famous concept of the \"single story,\" I use narratological terminology to think through the tension between typicality and specificity, and its particular stakes in African literature. Using this terminology, I trace how the writing of the protagonists Ugwu and Richard oscillates between fictional and referential, public and private, and oral and written representations. I thus show that realism, through framed narrations, establishes a kind of verisimilitude that is far from mimetically naïve.

This paper foregrounds and engages with the various forms of resistance and the historical and vocal complexities permeating Chinua Achebe’s Anthills of the Savannah (1987). It explores the paradoxical nature of inclusivity, wherein a seemingly inclusive voice can inadvertently repress and exclude other perspectives. Therefore, it portrays a narrative that explores a transcendence of classical and patriarchal constraints, incorporating elements of cultural and ecological challenges throughout several time periods. The novel incorporates several tales that foster the perpetuation and dissemination of historical realities pertaining to political purges, as well as ideologies and systems of marginalization. In response to disdainful principles and simplistic dichotomies, both dialogisms and ecofeminism prioritize equitable consideration of all involved parties and actively reject the perpetuation of polarizations and divisions. The integration of these methodologies effectively eliminates the element of enticement, while also imbuing ecofeminism with a more relatable and expansive framework. In essence, when these approaches are employed together, they serve as a safeguard against any discriminatory constructions that they aim to dismantle. The goal of ecofeminist realms is to link environmental deterioration to many oppressions, including sexism, racism, classism, and imperialism. By challenging these beliefs and systems of oppression, ecofeminism aims to alleviate the suffering experienced by both human and nonhuman entities.

This essay focuses on the—already much-discussed—literary relationship between Nigerian writers Chinua Achebe and Chimamanda Ngozi Adichie. Following an introduction on the state of what the article calls, somewhat tongue-in-cheek, “Adichebean” criticism, the essay investigates how Adichie's ambiguous interventions on the topic of her affiliation with Achebe have defined her own literary identity but also, more generally, how her declarations may provide food for thought in regard to the wider field of contemporary African writing and its criticism. One of the central points developed in the essay is that existing comparative studies of Achebe's and Adichie's works have tended to focus on particular topics and use similar methods of inquiry and that further lines of investigation need to be pursued if we are to build a nuanced and comprehensive picture of the connections and divergences between Achebe and his increasingly “unruly” literary offspring. It is to this “rebelliousness” that the final part of the essay attends by appraising the possible significance of Adichie's oppositional stance in her two lukewarm assessments of Achebe's final opus, his nonfictional There Was a Country: A Personal History of Biafra (2012).

“Things Fall Apart”, a novel founded on strong African culture and proverbs, illustrates a clash between traditions and missionary-driven civilization in the Igbo community of Nigeria. The author, Chinua Achebe, relates to the African pre-colonial, colonial and post-colonial dispensations. Achebe explores art and literature to redefine thoughts on the vibrancy of the pre-colonial representative institutions in Igboland for peaceful co-existence, which contradicts the generally acclaimed non-existence of political authority in the community. It appreciates the giant strides of Africans to fervently preserve their cultural heritage, and resist the new religion supported by imperialism, and its trappings such as racism, abolition of indigenous practices, divide and conquer, and the break-up of African tribal societies under colonialism. Through textual analysis, this article highlights the ideological impetus for the book and draws a relationship between Okonkwo’s stance against foreign domination and current anti-western insinuation in Africa. It also draws a dialectical connection and dichotomy between African 'evil culture' and 'evil religion' associated with colonial domination, and engages its implications for contemporary Nigerian state and Africa.

Now is the opportune moment to trace a middle path between Chinua Achebe's criticism of Conrad and Heart of Darkness for being insensitive to the issues of race and Conradians' defense of the author and his works as being otherwise. This article examines the intimate oppositions between critics like Achebe and defenders of Conrad, as well as the desire within Marlow to respond to the blank otherness in him when he confronts the people in Africa. I unearth the signs of response and responsibility, and advocate a mode of recuperative reading that sutures the ostensibly unbridgeable gap between the self and the other. This mode of reading can serve to retain the values of a work of art that nevertheless finds itself entangled within the flow of history and the matrix of politics. Achebe's essay \"An Image of Africa: Racism in Conrad's Heart of Darkness\" is an ethical response and a responsible call for further attention to the emptied space marked by the West's othered victims. Achebe's call, later in life, is for the recognition that this space populates more than just Conrad's beings (dis)colored by his artistic imagination. And in Heart of Darkness, Marlow's is a vague but useful response to the immense blankness of the Other that commands from him a responsibility to speak, first to save himself, and by so doing, to admit that the Other out there and in him are saving him. Through an intimately close reading of the novella, I argue that Marlow, in transforming himself into a quasi-native, lives on; the Other as such bypasses denegation and emerges into consciousness.

This paper returns to an often-overlooked moment in international legal history, the Nigerian Civil War (1967-70), and explores the rhetorical strategies that the Biafran government used when struggling to justify its sovereignty. It reads Chimamanda Ngozi Adichie's novel about the war, Half of a Yellow Sun (2006), as a prolonged commentary on Biafra's international legal troubles. While Nigeria insisted that Biafra was a rogue state without international legitimacy, Biafra claimed that Nigeria gave up its control over the region because it had violated their \"human rights\" during the 1966 pogroms. Because there were (and still are) no clear rules as to when sovereignty is to be recognized, Biafrans found themselves in a position with no clear path to recognition. They turned, therefore, to their public relations branch, spearheaded by Chinua Achebe, to help sway international opinion. This paper argues that they redeployed the bildungsroman's tropes as a way of making legible their readiness to rule, and that Adichie's writes Half of a Yellow Sun as a bildungsroman in acknowledgement of this posture. Far from substantiating Biafran sovereignty, however, Biafra's international outreach failed to secure widespread recognition before the ceasefire in 1970. With this failure in tow, Adichie's Half of a Yellow Sun adopts the genre of the bildungsroman only to trouble its credibility as an effective administrative tool.

O romance A paz dura pouco, do escritor nigeriano Chinua Achebe, focaliza, de forma bastante aguda, as questões relacionadas à pós-colonialidade, que, por sua vez, são o elemento balizador da figuração do personagem.  A figuração do personagem, que compreende, segundo Reis (2018), os dispositivos retóricos, ficcionais e acionais que delineiam a figura ficcional, configura-se, na obra em análise, por meio das dissidências culturais entre a antiga metrópole, Inglaterra, e a ex-colônia, Nigéria, bem como as tensões entre a tradição e a modernidade. Assim, propomos uma análise da constituição do personagem pelo viés da teoria pós-colonial considerando as diferenças culturais, fruto do colonialismo, na figuração do personagem. Como aporte teórico, buscamos em Bonnici (2012) base sobre a teoria pós-colonial; e em Forster (1962), Bordini (2006), Brait (2017) e Reis (2018) referencial sobre personagem. A partir das articulações teóricas e da análise desenvolvida, observamos o personagem central do romance como constituído pela dualidade estabelecida por seus conflitos existenciais, muito especialmente o contraste entre o quem é e quem pretendia ser, colocados no contexto pós-colonial.

This essay revisits Chinua Achebe’s exemplary satire of African disillusionment, No Longer at Ease (1960). Published the year of Nigeria’s official independence from Britain, the novel describes how Obi Okonkwo, a civil servant and colonial subject, tries but fails at the threshold of independence to navigate a Nigerian modernity overrun with cultures of bribery, nepotism, and tribalism. Torn between the moral and financial demands of his rural, traditionalist kin and those of the colony’s urban elite, Obi succumbs to corruption, voicing his downfall and Nigeria’s botched independence through a sardonic self-acquittal. A frustrated idealist betrayed by the high promises of anticolonialism, Obi mirrors a lost generation of African writers and intellectuals, figures the novel satirizes for their self-absolving cynicism.