Exile in Africa: The Fall of Humanity As Characterized in Anowa, Death and the King’s Horseman, and The Other War

A.K.M. Aminur Rashid

Abstract


Anowa, at first, uncovers a grim sketch of Kofi Ako’s whole youth spent on scoring slaves resulting in consuming his sexual puberty; and bringing him to his ultimate suicide. Secondly, Wole Soyinka’s Death and the King’s Horseman observes a deep political unrest regarding Elisin’s slavery branding Elisin as a slave. Although the ending remarks his master dies but Elisin’s slavery does not end; he has to serve his master following him into the grave unfortunately. Soyinka evokes the fears of slavery politicized in the Yoruba society that kills Elisin eventually. Finally, Tesfai particularizes an action-research project of a prolonged conflict between Assefa, an Ethiopian and Astier’s mother, an Eritrean symbolizing the two states’ problems as a whole. Findings suggest Assefa’s chronic distresses are vividly marked by the loss of his son, whom Astier’s mother takes away to help clarify the emerging war in both countries, where war will stop in no time. 

 


Keywords


Anowa; Death and the King’s Horseman; The Other War; Theme of Exile; Theme of Slavery; Crisis of Identity; Death

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References


Adebayo, W. (1993). Ritual and the political unconscious: The case of Death and the King’S Horseman. Research in African Literatures, 24, 67-79.

Aidoo, A. A. (1970). Anowa. London, Longman Dumbeat.

Murphy, L. (2009). Obstacles in the Way of Love: The Enslavement of Intimacy in Samuel Crowther and Ama Ata Aidoo. Research in African Literatures, 40, 48-64.

Olaogun, M. (2002). Slavery and etiological discourse in the writing of Ama Ata Aidoo, Bessie Head, and BuchiEmechesta. Research in African Literatures, 33, 171-193.

Soyinka, W. (1986). Death and the King’s Horseman, London, Eyre Methuen.

Tesfai, A. (1999). ‘The Other War’ in Contemporary African Drama (M. Banham & J. Plastow, Eds., pp. 261-382). London Methuen Drama.

Yan, H. P. (2002). Stazing modern vagrancy: Female figures of border-crossing in Ama Ata Aidoo and Caryl Churchill1. Theatre Journal, 54, 245-262.




DOI: http://dx.doi.org/10.3968/11320

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