ALT 26 War in African Literature Today by Ernest N. Emenyonu

By Ernest N. Emenyonu

Because the moment 1/2 the 20th 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 reviews of the way African writers, as old witnesses, have dealt with the activity of struggle as a cataclysmic phenomenon in a variety of destinations at the continent. The individuals discover the topic from quite a few views: panoramic, neighborhood, nationwide and during comparative experiences. conflict has enriched modern African literature, yet at what expense to human lives, peace and the surroundings? ERNEST EMENYONU is Professor of the dept of Africana experiences college of Michigan-Flint. The individuals 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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ALT 26 War in African Literature Today

Because the moment half the 20th century, no unmarried phenomenon has marred the picture and improvement of Africa greater than mindless fratricidal wars which speedily the political independence of countries. This factor of African Literature this present day is dedicated to experiences of ways African writers, as old witnesses, have dealt with the game of battle as a cataclysmic phenomenon in numerous destinations at the continent.

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Tesfai 2000: 28) cultivated in the field which was rooted in the ancient practice of withholding one’s deeper thoughts and feelings. Allegorical plays, so it seems, would have been an ideal theatrical medium had they not been open to a multiplicity of interpretations. e. allegorical plays]. As meaning is indistinct, different interpretations are encouraged which will serve different interests. This violates one of the basic principles of social realism. […] It is for such views that symbolic drama should not be mounted too frequently.

What have you hidden here? 14 The incursion into the domestic and corporeal terrain immediately translates into the occupation of the national territory. For Letiyesus, the Alemseged Tesfai’s Theatre of War 27 idea of her daughter willingly sleeping with ‘the enemy’ – a voluntary, perhaps even pleasurable, incursion – is therefore the ultimate form of treason. ‘We had no idea she would be driven to this, no idea whatever that someday she would betray her own country and people’ (p. 280). Alemseged first feeds, then cleverly discards this notion by portraying a more complex picture than the usual Manichean allegory.

Sometimes, her maternal instinct makes her wish to retain and nurture her baby. Yet, at other times, she hates the child and may either wish to kill the baby or abandon it at a site where someone else may find and rescue it. 3 On the one hand, most of the other ethnic nationalities in Nigeria are envious of the spectacular advances made by the Igbo people in all fields of human endeavour and, consequently, would love to be rid of them. On the other hand, these same ethnic groups want to preserve the territorial integrity of Nigeria; hence, they do not want the Igbo people to secede from Nigeria and become an independent state.

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