This is a touching play that interrogates certain traditional mores by revisiting the archetypal themes of love, deceit, and regret. It depicts a society in which people do not have the right to express themselves and their emotions. The play is a tragedy that ends with some cleansing of a land ruined by greed and individualism.
The focus of this book is to assess, through language and literary studies in interpretation, the epistemic representation of frontiers in its shifting and fixing categories. The contributing researchers stress on the fact that crisscrossing has taken its toll on communities and disciplines and that hegemonic positions are becoming increasingly redundant and provocative. Frontier discourse is therefore, a socio-political and culturally oriented discourse. Importing it to language and literary studies also shows that literary circles like language are equally shifting and erasing borderlines. The chapters discuss crisscrossing of frontiers both as geography and epistemology. This is in line with the new cultural ontology that opens up new interpretations and shifts from previous ones in the disciplines of Language, Linguistics, Arts and Literature. The book pulls together a wide range of issues based on a plurality of theoretical assumptions. The issues presented are grouped into three broad sections. Section one looks at the creation of the self as a way to dismantle the other. In section two, the focus is on linguistic shifts and the fact that all languages need space in multilingual societies. And section three shows how people travel out of their homelands to seek comfort. Resourceful, insightful and incisive, the book offers depth and breadth in refined scholarship. The contributors are masterly in their handling of borderlines between ideology and iconoclasm, globalisation and nationalism, memory and nation, gender and identity, official and indigenous languages, self /other dialectics, migration and identity. The book is an invaluable asset to researchers and students with a penchant for interdisciplinarity, intertextuality, multiculturalism and globalisation.
In One Night, Toh masterfully weaves a poetic narrative that explores power dynamics and individual action in the face of colonialism. Set against the backdrop of a ruler's twilight years, the story follows Yuh, who grapples with the legacy of his reign over a prosperous nation threatened by foreign forces. As Yuh confronts the potential annihilation of his life's work, he rekindles his artistic spirit, crafting a poetic narrative that reflects the African perspective on colonialism and its consequences. Toh's rich storytelling and evocative language captivate readers, inviting them to delve into a world where power struggles, cultural identity, and human resilience intertwine. One Night is a testament to artistry and a poignant exploration of historical themes that resonate across time.
The Tears of the Earth, without pretense, practically holds court for environmental or eco-concerns with global ripples, staking a legitimate claim as a landmark tributary to the mainstream discourse and current debates on global warming and climate change, especially by portraying Africa, still trapped and anaesthetized in the web of post-colonial vassalage, compelled to mortgage her natural resources for savage exploitation with little or no regard to either environmental impact or sustainability. The poems are an expression of the author’s noble indignation at society’s governing elite for allowing collective natural resources “Mother Earth’ to be callously butchered, so ingloriously ransacked, liberally poisoned and gagged “Beyond Recognition” for mere lucre or “Midas’ touch” which procures and sustains the infernal binary of “Power and Pride” deified by our societies.
“...this collection is both poetry and a reflection on poetry, on the creative process. In deceptively minimalist style characteristic of seasoned bards and a diction charged with intricate conceits, John Ngong Kum Ngong launches a scathing onslaught on the ruling barons of post-colonial nations who have privatised the nations' wealth and power.” Dr. Gilbert Ndi Shang, Bayreuth University, Germany
“In this wide-ranging collection of forty-three poems, John Ngong Kum Ngong undertakes a critical and acerbic diagnosis of the socio-political situation in postcolonial Africa through a deceptively simple, aesthetically complex, and ideologically intriguing style. The multi-facetted and interrelated motifs of ‘shadows’ and ‘seasons’, together with a plethora of literary devices such as paradox, suspense, metaphors, allusions, personification, irony, satire, humour, and contrast, are the weapons through which the poet drives home his message. The poems, in this collection, are not only politically ‘correct’ but are also artistically profound.” - Zuhmboshi Eric Nsuh, PhD. Lecturer, Literary Critic, and Political Analyst
In Strange Passions John Ngong Kum Ngongs vocation and prime obsession remain constant the soul of the nation. Passion, the central symbol in this collection is the patriotic sentiment in its various manifestations. As a self-conscious artist, Ngong summons his audacious technical dexterity to sublimate the sauciness characteristic of his style and direct it towards ideological ends. The significance of his contribution is as much in the urgency, originality and authenticity of his message as in the full range and complexity of his style, and the depth and density of his thoughts.
The focus of this book is to assess, through language and literary studies in interpretation, the epistemic representation of frontiers in its shifting and fixing categories. The contributing researchers stress on the fact that crisscrossing has taken its toll on communities and disciplines and that hegemonic positions are becoming increasingly redundant and provocative. Frontier discourse is therefore, a socio-political and culturally oriented discourse. Importing it to language and literary studies also shows that literary circles like language are equally shifting and erasing borderlines. The chapters discuss crisscrossing of frontiers both as geography and epistemology. This is in line with the new cultural ontology that opens up new interpretations and shifts from previous ones in the disciplines of Language, Linguistics, Arts and Literature. The book pulls together a wide range of issues based on a plurality of theoretical assumptions. The issues presented are grouped into three broad sections. Section one looks at the creation of the self as a way to dismantle the other. In section two, the focus is on linguistic shifts and the fact that all languages need space in multilingual societies. And section three shows how people travel out of their homelands to seek comfort. Resourceful, insightful and incisive, the book offers depth and breadth in refined scholarship. The contributors are masterly in their handling of borderlines between ideology and iconoclasm, globalisation and nationalism, memory and nation, gender and identity, official and indigenous languages, self /other dialectics, migration and identity. The book is an invaluable asset to researchers and students with a penchant for interdisciplinarity, intertextuality, multiculturalism and globalisation.
In One Night, Toh masterfully weaves a poetic narrative that explores power dynamics and individual action in the face of colonialism. Set against the backdrop of a ruler's twilight years, the story follows Yuh, who grapples with the legacy of his reign over a prosperous nation threatened by foreign forces. As Yuh confronts the potential annihilation of his life's work, he rekindles his artistic spirit, crafting a poetic narrative that reflects the African perspective on colonialism and its consequences. Toh's rich storytelling and evocative language captivate readers, inviting them to delve into a world where power struggles, cultural identity, and human resilience intertwine. One Night is a testament to artistry and a poignant exploration of historical themes that resonate across time.
This is a touching play that interrogates certain traditional mores by revisiting the archetypal themes of love, deceit, and regret. It depicts a society in which people do not have the right to express themselves and their emotions. The play is a tragedy that ends with some cleansing of a land ruined by greed and individualism.
This book critically explores global challenges from linguistic and literary standpoints aimed at contributing towards their mitigation. Composed of two parts, contributors to the first section examine issues such as language use in the Anglophone crisis in Cameroon, the Covid-19 pandemic, migration, ethnic conflict, hate speech and language shift. The second part comprises essays that foreground global problems in literary texts. Contributors survey global problems like terrorism, gender inequality, racism and neo-colonialism, which engender horror and fuel violence. Drawn from various literary texts from Cameroon, Africa, Europe and America, contributors propose language and literature responses to global issues. These include using appropriate language and concrete techniques to assist citizens and world leaders convey precise messages for better understanding and nation-building. New communication strategies could also be adopted to keep life going and improve solidarity worldwide. Finally, contributors submit that dialogue could be a panacea through stakeholder collaboration and that negotiation is a productive solution to peace and harmony.
Another exciting and confrontational poetry collection by the award-winning poet, John Ngong Kum Ngong. Nuptials At Vespers And Other Strains is his eighth collection of 44 poems. These poems particularly handle questions of identity, delineating the poet-persona's struggle to detach himself from the bard and be like any ordinary person in society. After a bootless tussle and a depression, he makes friends with the poet .Together they view their situation as a marriage and a prison full of pain, torture and suffering. They desire to end their affliction fighting together. There is a hint of regret, disappointment and even bitterness but the prevailing mood of love and concern spell hope in darkness.
Snatched from the Grave, an exciting and provocative collection of 46 poems, traces the path taken by the protagonist to find real lifelong satisfaction and peace in a turbulent, perilous and ruthless world. The poems fire the imagination and generate thought around questions of existence and belief as they call on the reader to re-examine him/herself in order to live a meaningful life.
This book argues that a primary purpose of theological discourses is to construct piety or spirituality. If this is the case, theologians need to constantly inquire into the kind of piety or spirituality which their work may construct. Drawing from some important moments in the development of Christian theology, such as the development of the Christian doctrine of God in the early church, the role of material things in the Christianity of medieval Europe, some elements of contemporary postliberal theology, and the theology of inculturation in Africa, the book argues that theological discourses that appear to be orthodox and innocuous may actually construct forms of piety that may diminish human flourishing. The book therefore calls for an ethics of theology intended to ensure that the theologies we construct help in developing a piety that is conducive to human flourishing in the modern world, especially for Africans, who have suffered and continue to suffer unspeakable dehumanization. The book proposes that a theology that may contribute to the flourishing of Africans in the modern world is one that constructs an interdisciplinary spirituality that takes both the spiritual and the scientific seriously.
Blot On The Landscape is John Ngong Kum Ngong's seventh collection of poetry. The central symbol here is blot which takes on complex and fascinating meanings in this rich collection of 42 poems. At a time when concerns for the environment increasingly receive global attention, the collection expresses and problematises the way in which the environment in particular and the landscape in general are treated. The poet decries the fact that there is filth everywhere; in mans thoughts, psyche and behaviour and nobody seems to care. Seen from this angle, human beings themselves seem to constitute the major blot on the landscape.
In words lost on the wind, we enter into a world of beauty and love and mystery where everything is recognized and given its significance. The author leads his readers from page to page, with vivid images drawn from day-to-day life encounters with people and situations to that startling discovery that beneath the reality of suffering, poverty and solitude there is an instance of song where beauty reveals itself in the things we caress or break or things that touch or break us. It is poetry of love, of beauty, of passion, of encounter but above all, it is a call to an awareness that immerses us into the joys of life. Dzemo makes his readers dream, laugh, think, pray and fall in love. It is an altogether enchanting world to enter in.
This book critically explores global challenges from linguistic and literary standpoints aimed at contributing towards their mitigation. Composed of two parts, contributors to the first section examine issues such as language use in the Anglophone crisis in Cameroon, the Covid-19 pandemic, migration, ethnic conflict, hate speech and language shift. The second part comprises essays that foreground global problems in literary texts. Contributors survey global problems like terrorism, gender inequality, racism and neo-colonialism, which engender horror and fuel violence. Drawn from various literary texts from Cameroon, Africa, Europe and America, contributors propose language and literature responses to global issues. These include using appropriate language and concrete techniques to assist citizens and world leaders convey precise messages for better understanding and nation-building. New communication strategies could also be adopted to keep life going and improve solidarity worldwide. Finally, contributors submit that dialogue could be a panacea through stakeholder collaboration and that negotiation is a productive solution to peace and harmony.
This is not just an ordinary book. It is a journal with unique layout- not a straight story. Dr Okey deliberately publishes this "uncensored and unedited" conversation with his friends and radio show listeners as a door way to the road of life that most of us dread to travel. He calls the book, a personal journal. Easy to read and very simple to understand. You will encounter slangs, slogans, errors, omissions and strange words, Dr Okey left them un-edited in order to make the reader enjoy a raw friendly but hilarious, deep cutting, sharp thinking, bold conversation with a friend you never knew. But the real point is, Thought Provoking Thought is the kind of book that needs no introductions, no prefaces, and no forgoing ramblings, just like a simple frank conversation between friends that doesn't need any preliminaries. Topics such as, "THE MIND IS A JAILHOUSE" and "WHO STOLE YOU FROM YOU" will make you redraw your mental map. In a nutshell, this is a thought-generating encounter, diary a friend who dares you with the questions that reside in your mind, questions that keep surging up from that space of your arid solitude and the questions few of us would really love to dare an answer. He confronts us with the truths we won't like to face, just because they will would have set us free. A compendium of striking ideas, of researched articles, of human relationships, of speeches... weaved with moving limpidity and simplicity of style. Honestly, it will alter your way of thinking and the way you apprehend the world you live in and help you rediscover your way home. Dare to read it! Let the journey now begin. --------------------------------------------------------- Ramould Ngong(Lang. translater- Philipines) and Darryl Witmore (Editor, Timeline News-USA)
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