Filed under book | Tags: · africa, dialectic, globalisation, knowledge, literary criticism, literary theory, literature, neocolonialism, orality, politics, postcolonialism, theory
“A masterful writer working in many genres, Ngũgĩ wa Thiong’o entered the East African literary scene in 1962 with the performance of his first major play, The Black Hermit, at the National Theatre in Uganda. In 1977 he was imprisoned after his most controversial work, Ngaahika Ndeenda (I Will Marry When I Want), produced in Nairobi, sharply criticized the injustices of Kenyan society and unequivocally championed the causes of ordinary citizens. Following his release, Ngũgĩ decided to write only in his native Gikuyu, communicating with Kenyans in one of the many languages of their daily lives, and today he is known as one of the most outspoken intellectuals working in postcolonial theory and the global postcolonial movement.
In this volume, Ngũgĩ wa Thiong’o summarizes and develops a cross-section of the issues he has grappled with in his work, which deploys a strategy of imagery, language, folklore, and character to ‘decolonize the mind.’ Ngũgĩ confronts the politics of language in African writing; the problem of linguistic imperialism and literature’s ability to resist it; the difficult balance between orality, or ‘orature’, and writing, or ‘literature’; the tension between national and world literature; and the role of the literary curriculum in both reaffirming and undermining the dominance of the Western canon. Throughout, he engages a range of philosophers and theorists writing on power and postcolonial creativity, including Hegel, Marx, Lévi-Strauss, and Aimé Césaire. Yet his explorations remain grounded in his own experiences with literature (and orature) and reworks the difficult dialectics of theory into richly evocative prose.”
Publisher Columbia University Press, New York, 2012
Wellek Library Lectures in Critical Theory series
ISBN 9780231159500, 0231159501
Reviews: Publishers Weekly (2011), Corbin Treacy (Transnational Lit, 2012), Danson Kahyana (Slip, 2012), Geoff Wisner (Words Without Borders, 2012), M.A. Orthofer (Complete Rev, 2012), Jenna N. Hanchey (E3W Rev of Books, 2013), Devin Zane Shaw (Society+Space, 2013), Magalí Armillas-Tiseyra (E-Misférica, 2014), Oliver Lovesey (Cambridge J Postcolonial Lit Inquiry, 2014), Ndiritu Wahome (2016).Comment (0)
Filed under essay | Tags: · activism, literature, poetics, poetry, politics, russia
“Combining poetry with protest actions and music, Kirill Medvedev is one of the leading exemplars of the new ‘civic poetry’ that emerged in Russia during the 2000s, and whose longer lineage, from the creative ferment of the 1920s to the hyper-individualism of the 1990s, he discusses in this essay.” (from the introduction to English translation)
First published in Translit 10-11, St Petersburg, 2012.
English and Spanish translations appeared in New Left Review 82, 2013.
Peresmotret rezultaty privatizatsii poezii: novaya paradigma angazhirovannosti (Russian, 2012), HTML repost.
Beyond the Poetics of Privatization (English, 2013)
Más allá de la poética de la privatización (Spanish, 2013)
Filed under book | Tags: · 1930s, avant-garde, biography, history, history of literature, literature, memory, poetry, politics, russia, soviet union, totalitarianism
“Nadezhda Mandelstam’s memoir of her life with poet Osip, who was first arrested in 1934 and died in Stalin’s Great Purge of 1937-38. The book is a vital eyewitness account of Stalin’s Soviet Union and one of the greatest testaments to the value of literature and imaginative freedom ever written.”
Publisher Chekhov Publishing Corp., New York, 1970
Translated by Max Hayward
With an Introduction by Clarence Brown
Publisher Atheneum, New York, 1970
Fifth printing, 1983
Reviews: George Ivask (Slavic Review, 1971), Simon Karlinsky (Slavic and East European Journal, 1971), Robert P. Hughes (Russian Review, 1971), Seamus Heaney (London Review of Books, 1981), Elaine Feinstein (The Independent, 2013).
Commentary: Judith Robey (Slavic and East European Journal, 1998).