1887

n English in Africa - The Revolutionary Drama and Theatre of Femi Osofisan, Chima Osakwe - review

Volume 46 Number 2
  • ISSN : 0376-8902
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Abstract

The recent award of the prominent 2019 Caine Prize for African Writing to a Nigerian writer, Lesley Nneka Arimah, is just one indication of the continuing contribution of that country’s writers to contemporary African literatures in general. This writer can be described as one of what has been labelled as Nigeria’s “third generation” of writers whose careers became visible from the early 2000s onward. Given their seeming pre-occupation with the social, political and economic difficulties of the country in the 1980s and 1990s, their works have also been described as commentary on Nigeria’s serial military dictatorships during these periods (see Adesanmi and Dunton, 2005). Some of the more prominent members of this group are of course Chimamanda Ngozi Adichie and Helon Habila who have each won several respected international literary prizes and whose main works have become canonised in Nigeria and internationally.1 It has been observed that these writers have lodged Nigerian literature in the international domain in ways similar to the acclaimed writers of the post-independent period, such as Chinua Achebe and Wole Soyinka, the latter being Nigeria’s only Nobel Prize winner to date. Both Achebe and Soyinka of course are counted among what is called, debatably, Nigeria’s “first generation” of writers.

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/content/journal/10520/EJC-18408f9e64
2019-08-01
2019-10-21

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