ABSTRACT
Until a large number of French and British colonies in Africa attained independence, around 1960, the concept 'African literature' was unknown. Today this concept has been widely accepted. It refers, as any initiate knows, to an ever-increasing collection of novels, poetry, and drama written by African authors in, usually, the languages of the former colonial powers. If Africa's right to political sovereignty came to be recognized in a fairly spasmodic way, the recognition of African literature or, as some prefer to call it, 'neo-African literature', has come about no less suddenly. Today there are scores of African literary periodicals. Chairs in African literature have been created or, at least, courses in the subject are being offered, not only at African universities, but also at universities in Europe and particularly in North America. The African writer has attained international esteem and attracts general attention not only because of the literary work, but also, and particularly, because of the writer's role in the public affairs of African countries. In some countries the writer has been the head of state, like Leopold Senghor and the late Agostinho Neto. In other countries the writer may from time to time be in prison, on the ground of having expressed opinions unacceptable to the regime; Ngugi wa Thiong'o in Kenya and Wole Soyinka in Nigeria are well-known examples. More often even the writer lives in exile, like Ayi Kwei Armah, Bessie Head, and the late Camara Laye. The Nigerian writer, Chinua Achebe, finally, was one of the major advocates of the Biafran secessionist movement at the time. In the wake of this sudden international recognition a
African literature between nostalgia and Utopia number of controversies arose as to the specific nature of African literature. As a result of these efforts to determine the African essence of African literature, it happened more than once that authors were disqualified for being insufficiently African.
