particular, the essays “Towards a New African-Inspired Humanism,” “The
Struggle for N´egritude” and “Reformed N´egritude” in his
Prose and Poetry
,
selected and translated by John Reed and Clive Wake, London: Oxford
University Press,
.
The most notorious of such attacks on Soyinka is of course that of Chinweizu,
Jemie and Madubuike in their
Towards the Decolonization of African Literature
,
Washington, DC: Howard University Press,
.
The fullest elaboration of the construct or concept-metaphor of the
phar-
makon
in Derrida’s writings is to be found in his
Dissemination
, University of
Chicago Press,
.
For a collection of essays which express this pessimism in ways somewhat
similar to Soyinka’s sentiments in “The Writer in a Modern African State”
see R.H. Crossman (ed.),
The God That Failed
, New York: Harper,
.
Biodun Jeyifo, “Wole Soyinka and the Tropes of Disalienation,”
Art, Dialogue
and Outrage
, Ibadan: New Horn Press,
.
For one of the most authoritative scholarly studies of the Symbolists,
see Anna Balakian,
The Symbolist Movement: A Critical Appraisal
, New York
University Press,
.
This view is given an extended exploration in Florence Stratton’s “Periodic
Embodiments: A Ubiquitous Trope in African Men’s Writing,”
Research in
African Literatures
,
.
(Spring
),
–
.
Other notable bodies of critical writings from the period which have become
influential, indeed almost canonical as the standard bearers of progres-
sive literary-critical discourse in postcolonial African literature are Chinua
Achebe,
Morning Yet on Creation Day
, Garden City, NY: Doubleday,
and
Ngugi wa Thiong’o,
Homecoming: Essays on African and Caribbean Literature,
Culture and Politics
, New York: Hill,
.
Frantz Fanon,
Black Skin, White Masks
, (translated by Charles Lam
Markmann) London: Pluto Press,
, Chapter
, “The Fact of Blackness,”
especially
–
.
I have briefly explored Soyinka’s location in the tradition of Pan-African
thinkers and pundits of an African order of knowledge of the nineteenth
and twentieth centuries in my Introductory essay to Biodun Jeyifo (ed.),
Perspectives on Wole Soyinka: Freedom and Complexity
, Jackson, MI: University
Press of Mississippi,
. See also J. Ayo Langley (ed.),
Ideologies of Liberation
in Black Africa
,
–
, London: Rex Collings,
.
Joel Adedeji, “Aesthetics of Soyinka’s Theatre” in Dapo Adelugba (ed.),
Before
Our Very Eyes
,
–
, and Ketu Katrak,
Wole Soyinka and Modern Tragedy: A
Study of Dramatic Theory and Practice
, Westport, CO: Greenwood Press,
.
M.H. Abrams,
Natural Supernaturalism: Tradition and Revolution in Romantic
Literature
, New York: Norton,
.
Notes to pages
–
See especially, Brian Crow, “Soyinka and the Romantic Tradition” in Dapo
Adelugba (ed.),
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