By Ernest N. Emenyonu
Because the moment half the 20 th century, no unmarried phenomenon has marred the picture and improvement of Africa greater than mindless fratricidal wars which quickly the political independence of countries. This factor of African Literature this present day is dedicated to stories of the way African writers, as ancient witnesses, have dealt with the sport of warfare as a cataclysmic phenomenon in a variety of destinations at the continent. The participants discover the topic from quite a few views: panoramic, neighborhood, nationwide and during comparative experiences. struggle has enriched modern African literature, yet at what fee to human lives, peace and the surroundings? ERNEST EMENYONU is Professor of the dept of Africana experiences college of Michigan-Flint. The participants comprise: CHIMALUM NWANKWO, CHRISTINE MATZKE, CLEMENT A. OKAFOR, INIBONG I. UKO, OIKE MACHIKO, SOPHIE OGWUDE, MAURICE TAONEZVI VAMBE, ZOE NORRIDGE and ISIDORE DIALA. Nigeria: HEBN
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Extra info for ALT 26 War in African Literature Today
Alemseged Tesfai: A Playwright in Service to Eritrean Liberation’. In Martin Banham, James Gibbs and Femi Osofisan (eds). African Theatre in Development. Oxford: James Currey, 1999: 54–60. —— ‘Ethiopia and Eritrea’. ). A History of African Theatre. Cambridge: 32 ‘Life in the Camp of the Enemy’ Cambridge University Press, 2004: 192–205. Rohmer, Martin. Theatre and Performance in Zimbabwe. Bayreuth: Eckhard Breitinger, 1999. Sachs, Albie. ‘Preparing Ourselves for Freedom’. In Ingrid de Kok and Karen Press (eds).
You or them? (p. 275) The daughter’s explicit rejection of her ancestry, and her proactive embracing of an identity associated with the enemy forces, leaves Letiyesus speechless and on the verge of tears. Initially, this was criticized as an ‘unrevolutionary’ weakness by cultural cadres who had been invited to comment on the play (Plastow and S. Tsehaye 1998: 47). Yet, the strength of the drama lies in the fact that it does not reduce the story to a single propagandist dimension, even if ultimately adhering to the official line.
Alemseged takes up the well-worn motifs of Mother Eritrea and woman as national allegory, only to defy their onedimensional interpretation. Instead, he demolishes theatrical clichés and translates them into a more self-directed system. While (re-)negotiating questions of gender, belonging and identity, the author does not however do entirely away with assumptions of masculine authority, even though he challenges the historical agency of men. The Other War is naturalistic in form, the set showing a typical Eritrean living room of an average, better-off highland family; a chest of drawers, a table and some chairs, with one door back centre stage as the only exit.