The editors emphasise, too, the importance of performance poetry, and a paradigm shift from the aspiration of everybody to publish and to do so in Europe.
On the choices the authors are able to make, the introduction is deficient in one important respect, making no reference to literature in languages other than English. The possibilities for the wider dissemination of this have recently been highlighted in the excellentseries of translations of southern African language texts published by Oxford University Press in South Africa.
While a large proportion of the anthology is taken up with critiques of Nigeria’s lamentable governance, an important recognition is that of newly-emerging subject-matter, including LGBTQ+ experience , feminism and environmental concerns. The title,, is explained as referring “to the various guises and voices which our contemporaries deploy to speak to the Nigerian condition and to overcome censorship”.
Of the 71 contributors to the anthology, aside from Afam Akeh at 60, their ages range from 24 to 46. This does make one wonder why the editors use the word “generation” so frequently in the introduction. Nigeria’s emerging writers have often been referred to as “third generation”, but this label is unhelpful in the extreme
More of an issue, only 15 of the contributors are female, which is at first glance surprising, given the prominence of contemporary Nigerian female novelists. There are, too, some surprising absentees, including
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