The Hairdresser of Harare, which the New York Times Book Review called “a fresh and moving account of contemporary Zimbabwe,” announced Tendai Huchu as a shrewd and funny social commentator. In The Maestro, the Magistrate & the Mathematician, Huchu expands his focus from Zimbabwe to the lives of expatriates in Edinburgh, Scotland. The novel follows three Zimbabwean men as they struggle to find places for themselves in Scotland. As he wanders Edinburgh with his Walkman on a constant loop of the music of home, the Magistrate—a former judge, now a health aide—tries to find meaning in new memories. The depressed and quixotic Maestro—gone AWOL from his job stocking shelves at a grocery store—escapes into books. And the youthful Mathematician enjoys a carefree and hedonistic graduate school life, until he can no longer ignore the struggles of his fellow expatriates. In this novel of ideas, Huchu deploys satire to thoughtful end in what is quickly becoming his signature mode. Shying from neither the political nor the personal, he creates a humorous but increasingly somber picture of love, loss, belonging, and politics in the Zimbabwean diaspora.

Malaria kills nearly one million people each year. Hundreds of millions more are sickened by the disease, and many of them are permanently disabled. Billions are spent each year to understand it. Researchers know the molecular details of the interaction between the mosquito and our own red blood cells, and the myriad ways in which malaria impacts the global economy and the advancement of humanity. But what of the public? Though its story is told in thousands of articles and in hundreds of books, many in the developed world are unaware of how prevalent malaria still is. Malaria, Poems testifies to the importance of bridging the chasm between science and art. It adds thread to a tattered and tragic global narrative; it is poetry’s attempt to reawaken care in a cold case that keeps killing. According to Cicero the aim of the orator is threefold: to teach, to delight, and to move. Poets during the renaissance embraced this idea, and Malaria, Poems reinvigorates it. Allen Ginsberg called for a poetry of social consciousness, a “bare knuckle warrior poetics.” Cameron Conaway, a former MMA fighter, offers Malaria, Poems both as a response to Ginsberg’s call and as a new call to contemporary poetry.

Mapping Modernisms brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. Mapping Modernisms is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world.

Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano
 

Mashairi Ya Vita Vya Kuduhu is a presentation and discussion of both manuscript and published versions of poems written by Lamu poets around the time of the Battle of Kuduhu. The poetic dialogue studied in this volume has played a significant role in the history of Swahili poetry, and its primary concern is to inform continued work in this area. The poems contained in this work were transmitted and preserved by speakers of Kiswahili and later collected and preserved by scholars. Chapter One contains the edited poems; Chapter Two consists of the translations. Subsequent chapters include accounts of the Battle of Kuduhu, editing and translating practices, and annotated poems and source versions. This work is presented as an example of the importance of research, fieldwork, and the consideration of available versions and alternative styles of presentation in the study of Swahili poetry.

In Materializing Colonial Identities in Clay, Jon Bernard Marcoux, Corey A. H. Sattes, and contributors examine colonoware to explore the active roles that African Americans and Indigenous people played in constructing southern colonial culture and part of their shared history with Europeans.

Colonoware was most likely produced by African and Indigenous potters and used by all colonial groups for cooking, serving, and storing food. It formed the foundation of colonial foodways in many settlements across the southeastern United States. Even so, compared with other ceramics from this period, less has been understood about its production and use because of the lack of documentation. This collection of essays fills this gap with valuable, recent archaeological data from which much may be surmised about the interaction among Europeans, Indigenous, and Africans, especially within the contexts of the African and Indigenous slave trade and plantation systems.

The chapters represent the full range of colonoware research: from the beginning to the end of its production, from urban to rural contexts, and from its intraregional variation in the Lowcountry to the broad patterns of colonialism across the early American Southeast. The book summarizes current approaches in colonoware research and how these may bridge the gaps between broader colonial American studies, Indigenous studies, and African Diaspora studies.

A concluding discussion contextualizes the chapters through the perspectives of intersectionality and Black feminist theory, drawing attention to the gendered and racialized meanings embodied in colonoware, and considering how colonialism and slavery have shaped these cultural dimensions and archaeologists’ study of them.
 

Mediterranean in Dis/order reveals the connection between space and politics by examining the role that space has played in insurgencies, conflicts, uprisings, and mobilities in the Mediterranean region. With this approach, the authors are able to challenge well-established beliefs about the power structure of the state across different disciplines (including political science, history, sociology, geography, and anthropology), and its impact on the conception, production, and imagination of space in the broader Mediterranean. Further, they contribute to particular areas of studies, such as migration, political Islam, mobilization, and transition to democracy, among others. The book, infusing critical theory, unveils original and revelatory case studies in Tunisia, Libya, Lebanon, Turkey, Syria, Morocco, and the EU Mediterranean policy, through a various set of actors and practices—from refugees and migrations policies, to Islamist or students’ movements, architectural sites, or movies. This multidisciplinary perspective on space and power provides a valuable resource for practitioners interested in how space, context, and time interact to produce institutions, political subjectivities, and asymmetries of power, particularly since the turning point of the Arab uprisings. The book also helps readers understand the conditions under which the uprisings develop, giving a clearer picture about various national, regional, and international dynamics.

Metaphor and the Slave Trade provides compelling evidence of the hidden but unmistakable traces of the transatlantic slave trade that persist in West African discourse. Through an examination of metaphors that describe the trauma, loss, and suffering associated with the commerce in human lives, this book shows how the horrors of slavery are communicated from generation to generation.

Laura T. Murphy’s insightful new readings of canonical West African fiction, autobiography, drama, and poetry explore the relationship between memory and metaphor and emphasize how repressed or otherwise marginalized memories can be transmitted through images, tropes, rumors, and fears. By analyzing the unique codes through which West Africans have represented the slave trade, this work foregrounds African literary contributions to Black Atlantic discourse and draws attention to the archive that metaphor unlocks for scholars of all disciplines and fields of study.

In Mobility, Mobilization, and Counter/Insurgency, Daniel Agbiboa takes African insurgencies back to their routes by providing a transdisciplinary perspective on the centrality of mobility to the strategies of insurgents, state security forces, and civilian populations caught in conflict. Drawing on one of the world’s deadliest insurgencies, the Boko Haram insurgency in northeast Nigeria and the Lake Chad region, this well-crafted and richly nuanced intervention offers fresh insights into how violent extremist organizations exploit forms of local immobility and border porosity to mobilize new recruits, how the state’s “war on terror” mobilizes against so-called subversive mobilities, and how civilian populations in transit are treated as could-be terrorists and subjected to extortion and state-sanctioned violence en route. The multiple and intersecting flows analyzed here upend Eurocentric representations of movement in Africa as one-sided, anarchic, and dangerous. Instead, this book underscores the contradictions of mobility in conflict zones as simultaneously a resource and a burden. Intellectually rigorous yet clear, engaging, and accessible, Mobility, Mobilization, and Counter/Insurgency is a seminal contribution that lays bare the neglected linkages between conflict and mobility.

The “Modern Sovereign,” a notion indebted both to Hobbes’s Leviathan and Marx’s conception of capital, refers to the power that governed the African multitudes from the earliest colonial days to the post-colonial era. It is an internalized power, responsible for the multiform violence exerted on bodies and imaginations. Joseph Tonda contends that in Central Africa—and particularly in Gabon and the Congo—the body is at the heart of political, religious, sexual, economic, and ritual power. This, he argues, is confirmed by the strong link between corporeal and political matters, and by the ostentatious display of bodies in African life. The body of power asserts itself as both matter and spirit, and it incorporates the seductive force of money, commodities, sex, and knowledge. Tonda’s incisive analysis reveals how this sovereign power is a social relation, historically constituted by the violence of the African cultural Imaginary and the realities of State, Market, and Church. It is to be understood, he asserts, through a generalized theory economic, political, and religious fetishism. By introducing this crucial critical voice from contemporary Africa into the English language, The Modern Sovereign makes a significant contribution to field of anthropology, political science, and African studies.
 

This study focuses on modernism in the visual arts in Morocco, particularly on the artists of the Casablanca school. Their activism, engagement, and interventions in the discourse of postcolonial national culture defined and energized the Moroccan modernist movement. The book follows the artists associated with the group, highlighting Farid Belkahia, Mohammed Chebaa, and Mohammed Melehi, among others. Of particular interest is the long-term collaboration between these artists and the cultural journal Souffles, founded by Abdellatif Laabi. Holiday Powers argues that the pedagogy, structural engagements, and transnational solidarities of this generation of artists are intrinsic to their broader artistic projects and are grounded in the same ideology and stakes. The actual art objects compose only one part of larger multifaceted, consistent, and wide-ranging artistic projects and must be analyzed in relation to these other activities. Powers argues for a reading of Moroccan modernism rooted in a contemporaneous national context yet also arising from a cosmopolitan foundation in dialogue with transnational anticolonial, pan-African, and pan-Arab intellectual movements. This reading does not suggest the existence of a center of global modernism that was being copied in a national context; it instead shows how global discourses were played out and experienced within specific historical, political, and cultural circumstances. Rather than explaining away these transnational connections, Powers posits that they are at the crux of modernism itself—particularly Moroccan modernism. To force a solely national narrative onto Moroccan modernism is to ignore the rich intersections and explorations fomented by the globalism of these artists and their training.

The precipitous rise and controversial fall of a formidable African leader. Samora Machel (1933–1986), the son of small-town farmers, led his people through a war against their Portuguese colonists and became the first president of the People’s Republic of Mozambique. Machel’s military successes against a colonial regime backed by South Africa, Rhodesia, the United States, and its NATO allies enhanced his reputation as a revolutionary hero to the oppressed people of Southern Africa. In 1986, during the country’s civil war, Machel died in a plane crash under circumstances that remain uncertain. Allen and Barbara Isaacman lived through many of these changes in Mozambique and bring personal recollections together with archival research and interviews with others who knew Machel or participated in events of the revolutionary or post-revolutionary years.

In the fictional East African Kwatee Republic of the 1990s, the dictatorship is about to fall, and the nation’s exiles are preparing to return. One of these exiles, a young man named Kalumba, is a graduate student in the United States, where he encounters Mrs. Shaw, a professor emerita and former British settler who fled Kwatee’s postcolonial political and social turmoil. Kalumba’s girlfriend, too, is an exile: a Puerto Rican nationalist like her imprisoned father, she is an outcast from the island. Brought together by a history of violence and betrayals, all three are seeking a way of regaining their humanity, connecting with each other, and learning to make a life in a new land. Kalumba and Mrs. Shaw, in particular, are linked by a past rooted in colonial and postcolonial violence, yet they are separated by their differing accounts of what really happened. The memory of each is subject to certain lapses, whether selective or genuine. Even when they agree on the facts—be they acts of love, of betrayal, or of violence—each narrator shapes the story in his or her own way, by what is left in and what is left out, by what is remembered and what is forgotten.

This book uses the Kenyan political system to address issues relevant to recent political developments throughout Africa.

The authors analyze the construction of the Moi state since 1978. They show the marginalization of Kikuyu interests as the political economy of Kenya has been reconstructed to benefit President Moi’s Kalenjin people and their allies. Mounting Kikuyu dissatisfaction led to the growth of demands for multi-party democracy.

The book places contemporary Kenyan politics and the 1992 election in their historical context, contrasting the present multi-party era with the previous one during the sixties.

The authors question the hopes for a “second independence” in Africa by demonstrating the problems faced by fledgling opposition parties in weak civil societies.

In Musho! Zulu Popular Praises Elizabeth Gunner, an authority on Zulu literature at the School of Oriental and African Studies at the University of London, and Mafika Gwala, a South African teacher and poet, have translated, transcribed, and annotated a wide variety of Zulu izibongo poetry. In so doing, they have revealed the incredible breadth of this traditional genre, which is usually equated with nineteenth-century epic traditions that celebrate the deeds of Shaka and the successor kings of his Zulu monarchy.  

     Musho!, with its extensive historical introduction, and literary commentary on Zulu poetry, is a major contribution to the field.