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This essay is a preliminary examination of crime and violence in postcolonial Kenyan fiction. It examines how three Kenyan writers have dealt with the themes of crime and violence in their fiction. Through examination of the fiction of John Kiriamiti, Meja Mwangi and John Kigia, the paper postulates that the prevalence of juvenile delinquents in this fiction and the related acts of violence and criminality could be read as indicators of the failure of the postcolonial Kenyan state to “include” these young men (and women) into the mainstream of society. The essay further argues that there is a correlation between marginalisation of the youth in society and their adoption of anti-social behaviour as strategies to access material resources.

Childhood and growing up in Mimboland, Cameroon are infused with fascinating stories and adventures.Discover life in Abakwa with Tom and his friend, as they are chased through an orchard for secretly harvesting avocadoes and mangoes.Smile as Mathias Chi's overloaded canoe almost loses balance.

Between the wars the decision had been taken to transform the place into a borstal for black boys below the age of 18 years, but in fact the only change had been in the prison population: the grim, dilapidated buildings, the prison staff, the harsh discipline had all remained unchanged until the Department of Education took it over from the Prisons Department in 1934. In the Diepkloof stories, too, the concern with freedom extends beyond efforts to ameliorate the stringent regime of the reformatory itself; it has also to do with freedom of choice - in the young offenders and in the authority figures - and with the existential freedom which arises from an acceptance that character is not ineluctably fixed and may alter with changes in the environment. [...]despite its light-hearted tone, \"The Elephant Shooter\" expresses a serious concern about the possible consequences of introducing a more benign form of authority in the reformatory. Coetzee's recommendation is sensible at a number of levels: selecting the boys after careful observation and on the basis of their tendency to be obedient is bound to be more effective than the present system, while putting the new boys together in a team of their own may minimise the potential for negative or corrupting influences.

This animated film exquisitely recounts the tale of tiny Kirikou born in an African village in which Karaba the Sorceress has placed a terrible curse. Kirikou sets out on a quest to free his village of the curse and find out the secret of why Karaba is so wicked. Lisa Nesselson of Variety (11/1/99) notes: 'KIRIKOU AND THE SORCERESS employs snappy visuals to tell a catchy story for all ages. A blend of African folktales 'KIRIKOU' has both humor and flair.' Kirikou depicts a precocious newborn infant who battles ignorance, and so-called evil, with endearing perseverance. This film speaks to the child within us all who yearns to express and defend the best in others and ourselves. KIRIKOU's stunning visuals are accented by a traditional music soundtrack by African music giant Youssou N'Dour of Senegal.