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Early Achebe By Bernth Lindfors
Early Achebe deals with the essays, stories, and groundbreaking novels Chinua Achebe published between 1951 and 1966 during the first phase of the writer s long and distinguished literary career. Lindfors, a longstanding and renowned scholar and critic of African literature, demonstrates vividly the pervasive influence the subject s early writing had not only on fellow Nigerian authors but also on teachers and critics of African literature both on the continent and abroad. The book concludes with a previously unpublished lecture by Achebe titled The Writer and the African Revolution delivered at The University of Texas at Austin in November 1969, followed by Achebe s responses to questions he was asked by students, faculty, and townspeople at the time. Bernth Lindfors the major sleuth of African literature has struck gold again. The goldmine reveals a decidedly comic Achebe in his early work, segueing to his more serious writing, the result of the tragedy of Biafra. Few writers want to see their earliest scribbling brought back into full light or photos from long ago reproduced. Credit must go to both Chinua Achebe and Bernth Lindfors for resuscitating these important materials. Charles R. Larson, Author of The Emergence of African Fiction and The Ordeal of the African Writer If anybody else outside Africa has been helpful in making to use Chinua Achebe's words about Ulli Beier Africans to see themselves through the freshness of their own vision, it is Bernth Lindfors. With its fondness for the excavating detail, the vernacular elegance of its style, and the unremitting respect and admiration for his subject's integrity as a writer, Early Achebe both enfolds and simulates Achebe's reciprocal pedagogy in all its stylistic and global width. Raoul J. Granqvist, Professor Emeritus of English Literature, Umeå University, Sweden A coherent critical groundwork and an important contribution to African literary history, Lindfors s Early Achebe is a unique starting-point for a deeper understanding of the cultural contexts, esthetic roots, thematic commitments, and stylistic features of not only Achebe s fiction but also his poetry and essays. Chukwuma Azuonye, Professor of African Literature, University of Massachusetts, Boston As one of the pioneers of African literature criticism and editor of the monumental bibliographical series Black African Literature in English, Bernth Lindfors has made contributions to African literature that are always exciting and full of relevance. His latest book, Early Achebe, which contains Chinua Achebe's earliest writings going back to his undergraduate days at University College, Ibadan, and Lindfors's own earliest essays on Achebe, is a gift of love to students and teachers of Achebe's works, and a necessary addition to the ever-growing body of commentaries in the field of Achebe studies. ... Early Achebe is, thus, an important and opportune work; it could not have been issued a moment too soon. Emmanuel Obiechina Associate Fellow, W.E.B. Du Bois Institute, Harvard University, and Fellow of the Nigerian Academy of Letters
₦8,000
Early Soyinka By Bernth Lindfors
Early Soyinka endeavors to reveal Wole Soyinka’s precocious talent as a writer of stories, dramas, essays, letters, humorous sketches and jokes, by presenting a collection of essays on writings by Soyinka composed prior to publication of his first books in 1963. The underlying argument in the book appears to be that Soyinka’s early works cannot be considered as “juvenilia or immature scribblings” for they already display a high command of language and acceptable formal structures.

The introduction lays out the background of the book when Bernth Lindfors attempts to settle a score with Biodun Jeyifo and Soyinka. Lindfors first retells Jeyifo’s position in Wole Soyinka: Politics, Poetics and Postcolonialism (2004), in which the latter identified Lindfors as one “who, almost alone among students of Soyinka’s writings, has been obsessed with his literary juvenilia, hoping therein to find materials to prove Soyinka was once a rookie writer, a neophyte artist, even if his rise to fame seemed instantaneous and meteoric.” Then, Lindfors reveals Soyinka’s misunderstanding of his efforts to demonstrate that Soyinka’s earliest writings were not the “awkward fumblings of a neophyte artist but the handiwork of a skilled craftsman who could articulate original ideas with fluency, precision and persuasiveness.” Soyinka had apparently taken issue with Lindfors in his essay “The Critic and Society: Barthes, Leftocracy and Other Mythologies,” by branding the latter as a “hagiographer extraordinary, who re-creates my juvenilia, in the old University College of Ibadan; every page of his essay contains at least one inaccuracy of time and place and a series of absurd attributions.” Lindfors’ probable purpose in bringing out these two misinterpretations of his interest in that early expressive body of work is to show the reason why many critics have refrained from studying Soyinka’s writings prior to publication of A Dance of the Forests, The Lion and the Jewel, and Three Plays in 1963. By considering these first published works as the starting point for an exploration of Soyinka’s talent and personality, those critics have been “studying the growth of a tree without examining its roots.” Early Soyinka aims then at putting things right by studying the growth of Soyinka from a close examination of his roots.

₦8,000
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