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By Marvin A. Lewis

Spain’s merely former colony in sub-Saharan Africa, Equatorial Guinea is domestic to a literature of transition—songs of freedom during which authors give some thought to their id in the context of modern colonialism and dictatorship.

            An creation to the Literature of Equatorial Guinea is the 1st book-length serious examine of this literature, a multigenre research encompassing fifty years of poetry, drama, essays, and prose fiction. either resident and exiled authors provide insights into the influence of colonialism and dictatorship less than Spanish rule and examine the end result of “independence” lower than the regimes of Francisco Macías Nguema and Teodoro Obiang Nguema. reading those works from the point of view of postcolonial thought, Marvin A. Lewis exhibits how writings from Equatorial Guinea depict the conflict of conventional and ecu cultures and replicate a dictatorship that produced poverty, distress, and oppression. He assesses with specific care the influence of the Macías reafricanization procedure and its manifestations in literature.

In exhibiting how the perspectives of the state correspond and diverge in works of writers equivalent to Maria Nsue Angue, Donato Ndongo-Bidyogo, and Juan Tomás Ávila Laurel, Lewis brings to gentle artists who articulate their issues in Spanish yet are African of their souls. In interpreting the works of either popular and rising writers, he marks the topics that give a contribution to the formation of nationwide id: Hispanic background, the parable of Bantu cohesion, “bonding in adversity” in the course of the Nguema regime, and the Equatoguinean diaspora.

            Lewis offers an available advent to the paintings of relevant writers in a brand new quarter of literary learn and comprises the main exhaustive and up to date bibliography to be had at the topic. His is a groundbreaking paintings that broadens our knowing of African literature and may be the bedrock for destiny stories of this Hispanic nook of Africa.

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No hay aquí nada exacto. ” This uncertainty extends even to the poem itself. Unlike concrete objects, a poem can only exist as a verbal construct. Beauty, therefore, resides in the power of words and figurative language: The precise, the beautiful: all, in the word of he who possesses the voice made of wings, guitars and harps. ” With no set formula or rules to ensure success, everything depends upon the creative capacity of the artist: The precise, the concrete marvel of being a grain of wheat, palm juice liquor, grape juice or wine.

The first poem, “I Love You,” is an anaphoric affirmation in four stanzas with the climax in the third: I love you since that Madrid evening remember? You gave me a drink from the depths of your gaze and you found a new horizon for me until then unknown. Since then I love you. (Te quiero desde aquella tarde madrileña ¿te acuerdas? Me diste a beber desde las profundidades de tu mirada, y me descubriste un nuevo horizonte hasta entonces desconocido. ) (86) 010 c1 (14-64) 5/10/07 11:11 AM Page 44 44 / An Introduction to the Literature of Equatorial Guinea The relationship begins with an exchanged glance and evolves into something lasting.

Cañas, cañas y cañas: ¡Malamba, tibio y húmedo malamba . . ) (77) The sugar cane–based liquor is not just personified in the poem but rather demonized. Its negative impact in Equatorial Guinea, despite its cultural importance, cannot be ignored. From humble beginnings, this product has taken its place alongside sugar cane and cacao as an important national product. “Carta Final” (Last Letter), the last section of Voices of Foam, consists of three poems: “A un indeterminado” (To an unknown), “Invitación al optimismo” (Invitation to optimism), and “Hasta luego” (Farewell).

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