A Commonwealth Prize–winning novel of “intense power . . . examining the role of women in modern African society” by the acclaimed Ghanaian author (Publishers Weekly). Living in Ghana’s capital city of Accra with a postgraduate degree and a career in data analysis, Esi Sekyi is a thoroughly modern African woman. Perhaps that is why she decides to divorce her husband after enduring yet another morning’s marital rape. Though her friends and family are baffled by her decision (after all, he doesn’t beat her!), Esi holds fast. When she falls in love with a married man—wealthy, and able to arrange a polygamous marriage—the modern woman finds herself trapped in a new set of problems. Witty and compelling, Aidoo’s novel, according to Manthia Diawara, “inaugurates a new realist style in African literature.” In an afterword to this edition, Tuzyline Jita Allan “places Aidoo’s work in a historical context and helps introduce this remarkable writer [who] sheds light on women’s problems around the globe” (Publishers Weekly).
This collection of short stories sees Ama Ata Aidoo, one of Africa's leading feminist and postcolonial writers, exercise the powerful effect of oral storytelling in her moving tales of shifting identities and the paradoxes of womanhood. Written with vibrant candour and tenacity, No Sweetness Here tackles the challenges of postcolonial Ghana, with topics ranging from the politics of wigs to the fragile joy of motherhood. In this collection, tradition struggles against modernisation, convention against liberation and all the while, Aidoo invites the reader to confront life's injustices with her characteristic humour and poise. 'Even at her gravest, Aidoo writes with a sunny charm.' New York Times 'Beautifully written.' English Magazine
In this collection of short stories, Aidoo elevates the mundane in women's lives to an intellectual level in an attempt at challenging patriarchal structures and dominance in African society.
Ama Ata Aidoo is one of the best-known African writers today. Spanning three decades of work, the poems in this collection address themes of colonialism, independence, motherhood, and gender in intimate, personal ways alongside commentary on broader social issues. After the Ceremonies is arranged in three parts: new and uncollected poems, some of which Aidoo calls “misplaced or downright lost”; selections from Aidoo’s An Angry Letter in January and Other Poems; and selections from Someone Talking to Sometime. Although Aidoo is best known for her novels Changes: A Love Story and Our Sister Killjoy, which are widely read in women’s literature courses, and her plays The Dilemma of a Ghost and Anowa, which are read and performed all over the world, her prowess as a poet shines in this collection.
From the author of Changes: these stories “of post-independence Ghana in the late 1960s are written beautifully and wisely and with great subtlety” (Chimamanda Ngozi Adichi). In this short story collection, the award-winning poet and author of Changes and Our Sister Killjoy explores postcolonial life in Ghana with her characteristic honesty, humor, and insight. A house servant wonders what independence means in a country where indoor plumbing is still reserved for bosses. A brother tracks down his runaway sister only to find she has become a prostitute. In the title story, a bitter divorce turns tragic when the couple’s only child dies of a snake bite. In these and other stories, tradition wrestles with new urban influences as Africans try to sort out their identity in a changing culture, and “even at her gravest, Miss Aidoo writes with a sunny charm” (The New York Times).
Two dramas depict the stories of a man who returns to his native Ghana with his sophisticated American wife, and a young woman who marries the man she loves, against her parents' wishes
The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures. This volume in the Global Theatre Perspectives series presents a reconstructed ancient performance text, four one-act indigenous African plays and five modern dramas from various regions of Africa and the Caribbean Diaspora. Because these plays span centuries and are the work of artists from diverse cultures, readers can see elements that occur across time and space. Physicalized ritual, direct interaction with spectators, improvisation, music, drumming, and metaphorical animal characters help create the theatrical forms in multiple plays. Recurring themes include the establishment or challenging of political authority, the oppression or corruption of government, societal expectations based on gender, the complex and transformational nature of identity, and the power of dreams. Though each play is its own unique entity, reading them together allows readers to explore what theatrical elements and cultural concerns are perhaps essentially African. The Caribbean plays add further perspective to the questions of what values, theatrical and societal, are part of African drama, how these have influenced the Caribbean aesthetic, and what the relationships are between the old and new world. Among the creators of the pieces are two Nobel Laureates, those who have been exiled or jailed for the political nature of their work, and the author of his country's first constitution. The volume can serve as the primary text for an intensive semester-long investigation of African drama and culture. But it is also possible to use this volume along with others in the series as texts for a single course on drama from around the world. The global perspectives approach, letting works from ancient, indigenous, and modern times resonate with each other, encourages thinking across boundaries and connective human understanding.
In this collection of short stories, Aidoo elevates the mundane in women's lives to an intellectual level in an attempt at challenging patriarchal structures and dominance in African society.
A Commonwealth Prize–winning novel of “intense power . . . examining the role of women in modern African society” by the acclaimed Ghanaian author (Publishers Weekly). Living in Ghana’s capital city of Accra with a postgraduate degree and a career in data analysis, Esi Sekyi is a thoroughly modern African woman. Perhaps that is why she decides to divorce her husband after enduring yet another morning’s marital rape. Though her friends and family are baffled by her decision (after all, he doesn’t beat her!), Esi holds fast. When she falls in love with a married man—wealthy, and able to arrange a polygamous marriage—the modern woman finds herself trapped in a new set of problems. Witty and compelling, Aidoo’s novel, according to Manthia Diawara, “inaugurates a new realist style in African literature.” In an afterword to this edition, Tuzyline Jita Allan “places Aidoo’s work in a historical context and helps introduce this remarkable writer [who] sheds light on women’s problems around the globe” (Publishers Weekly).
Ama Ata Aidoo is one of the best-known African writers today. Spanning three decades of work, the poems in this collection address themes of colonialism, independence, motherhood, and gender in intimate, personal ways alongside commentary on broader social issues. After the Ceremonies is arranged in three parts: new and uncollected poems, some of which Aidoo calls “misplaced or downright lost”; selections from Aidoo’s An Angry Letter in January and Other Poems; and selections from Someone Talking to Sometime. Although Aidoo is best known for her novels Changes: A Love Story and Our Sister Killjoy, which are widely read in women’s literature courses, and her plays The Dilemma of a Ghost and Anowa, which are read and performed all over the world, her prowess as a poet shines in this collection.
From the author of Changes: these stories “of post-independence Ghana in the late 1960s are written beautifully and wisely and with great subtlety” (Chimamanda Ngozi Adichi). In this short story collection, the award-winning poet and author of Changes and Our Sister Killjoy explores postcolonial life in Ghana with her characteristic honesty, humor, and insight. A house servant wonders what independence means in a country where indoor plumbing is still reserved for bosses. A brother tracks down his runaway sister only to find she has become a prostitute. In the title story, a bitter divorce turns tragic when the couple’s only child dies of a snake bite. In these and other stories, tradition wrestles with new urban influences as Africans try to sort out their identity in a changing culture, and “even at her gravest, Miss Aidoo writes with a sunny charm” (The New York Times).
The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures. This volume in the Global Theatre Perspectives series presents a reconstructed ancient performance text, four one-act indigenous African plays and five modern dramas from various regions of Africa and the Caribbean Diaspora. Because these plays span centuries and are the work of artists from diverse cultures, readers can see elements that occur across time and space. Physicalized ritual, direct interaction with spectators, improvisation, music, drumming, and metaphorical animal characters help create the theatrical forms in multiple plays. Recurring themes include the establishment or challenging of political authority, the oppression or corruption of government, societal expectations based on gender, the complex and transformational nature of identity, and the power of dreams. Though each play is its own unique entity, reading them together allows readers to explore what theatrical elements and cultural concerns are perhaps essentially African. The Caribbean plays add further perspective to the questions of what values, theatrical and societal, are part of African drama, how these have influenced the Caribbean aesthetic, and what the relationships are between the old and new world. Among the creators of the pieces are two Nobel Laureates, those who have been exiled or jailed for the political nature of their work, and the author of his country's first constitution. The volume can serve as the primary text for an intensive semester-long investigation of African drama and culture. But it is also possible to use this volume along with others in the series as texts for a single course on drama from around the world. The global perspectives approach, letting works from ancient, indigenous, and modern times resonate with each other, encourages thinking across boundaries and connective human understanding.
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