Abdi Ismail Samatar provides a clear and foundational history of Somalia at the dawn of the country's independence when Africa's first democrats appeared. While many African countries were dominated by authoritarian rulers when they entered the postcolonial era—and scholars have assumed this as a standard feature of political leadership on the continent—Somalia had an authentic democratic leadership. Samatar's political biography of Aden A. Osman and Abdirazak H. Hussen breaks the stereotype of brutal African tyranny. Samatar discusses the framing of democracy in Somalia following the years of control by fascist Italy, the formation of democratic organizations during the political struggle, and the establishment of democratic foundations in the new nation. Even though this early state of affairs did not last, these leaders left behind a strong democratic legacy that may provide a model of good governance for the rest of the continent.
Scandinavia's most famous painter, the Norwegian Edvard Munch (1863-1944), is probably best known for his painting The Scream, a universally recognized icon of terror and despair. (A version was stolen from the Munch Museum in Oslo, Norway, in August 2004, and has not yet been recovered.) But Munch considered himself a writer as well as a painter. Munch began painting as a teenager and, in his young adulthood, studied and worked in Paris and Berlin, where he evolved a highly personal style in paintings and works on paper. And in diaries that he kept for decades, he also experimented with reminiscence, fiction, prose portraits, philosophical speculations, and surrealism. Known as an artist who captured both the ecstasies and the hellish depths of the human condition, Munch conveys these emotions in his diaries but also reveals other facets of his personality in remarks and stories that are alternately droll, compassionate, romantic, and cerebral. This English translation of Edvard Munch's private diaries, the most extensive edition to appear in any language, captures the eloquent lyricism of the original Norwegian text. The journal entries in this volume span the period from the 1880s, when Munch was in his twenties, until the 1930s, reflecting the changes in his life and his work. The book is illustrated with fifteen of Munch's drawings, many of them rarely seen before. While these diaries have been excerpted before, no translation has captured the real passion and poetry of Munch's voice. This is a translation that lets Munch speak for himself and evokes the primal passion of his diaries. J. Gill Holland's exceptional work adds a whole new level to our understanding of the artist and the depth of his scream.
Scandinavia's most famous painter, the Norwegian Edvard Munch (1863-1944), is probably best known for his painting The Scream, a universally recognized icon of terror and despair. (A version was stolen from the Munch Museum in Oslo, Norway, in August 2004, and has not yet been recovered.) But Munch considered himself a writer as well as a painter. Munch began painting as a teenager and, in his young adulthood, studied and worked in Paris and Berlin, where he evolved a highly personal style in paintings and works on paper. And in diaries that he kept for decades, he also experimented with reminiscence, fiction, prose portraits, philosophical speculations, and surrealism. Known as an artist who captured both the ecstasies and the hellish depths of the human condition, Munch conveys these emotions in his diaries but also reveals other facets of his personality in remarks and stories that are alternately droll, compassionate, romantic, and cerebral. This English translation of Edvard Munch's private diaries, the most extensive edition to appear in any language, captures the eloquent lyricism of the original Norwegian text. The journal entries in this volume span the period from the 1880s, when Munch was in his twenties, until the 1930s, reflecting the changes in his life and his work. The book is illustrated with fifteen of Munch's drawings, many of them rarely seen before. While these diaries have been excerpted before, no translation has captured the real passion and poetry of Munch's voice. This is a translation that lets Munch speak for himself and evokes the primal passion of his diaries. J. Gill Holland's exceptional work adds a whole new level to our understanding of the artist and the depth of his scream.
Abdi Ismail Samatar provides a clear and foundational history of Somalia at the dawn of the country's independence when Africa's first democrats appeared. While many African countries were dominated by authoritarian rulers when they entered the postcolonial era—and scholars have assumed this as a standard feature of political leadership on the continent—Somalia had an authentic democratic leadership. Samatar's political biography of Aden A. Osman and Abdirazak H. Hussen breaks the stereotype of brutal African tyranny. Samatar discusses the framing of democracy in Somalia following the years of control by fascist Italy, the formation of democratic organizations during the political struggle, and the establishment of democratic foundations in the new nation. Even though this early state of affairs did not last, these leaders left behind a strong democratic legacy that may provide a model of good governance for the rest of the continent.
Somalia's problem is complex, but the question is, can the Somalia problem be solved? And can Somalia get the right direction? This book explores profound problems that Somalia has been facing and is still facing while addressing: why Somali politicians not stand up for their country and lead their country towards the right direction; Can the Somalis harness the ideology of clannism and use it to build Somalia's nation-state; why is Al-Shabaab always getting stronger day-by-day, how can it be rooted out from Somalia and how do we integrate the reformed militias? Can Somalia form a national army that has total support from the civilians? Can the Somalis deliberate and provide homegrown solutions and implement them without being put under duress
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