Contributions by members of English 27, Brown University, 1997

• Ngugi wa Thiong'o on the Language Question
• Maori Tradition and Change Duff's Once Were Warriors

• Using Child and Adult Perspectives to establish continuity in Soyinka's autobiography
• Subversion versus Rejection: Can Postcolonial Writers Subvert the Codified Using the Language of the Empire?
• Ayo Bamgbose on the Language Question
• Kachru, Desai, and English as "Neutralizing Alternative" in India
• Anthills of the Savannah and Languages of Wider Communication
• Brathwaite's "Nation Language," Sara-Wiwa, and Achebe
• Bibliography

• Change
• Hysteri(a): Introduction to History in Achebe and Swift
• Historical Detection in Waterland and Anthills of the Savannah
• So-Called Natural History in Waterland and Anthills of the Savannah
• Women and Postcoloniality Stripped to the Bone in Meatless Days: An Introduction
• Pakistan's Tumultuous Invention and Grotesque Parables in Meatless Days
• The Character of Mustakori
• Memory and Structure in Meatless Days

• Naming and History in Peter Carey's Oscar and Lucinda
• The Authority of Landmarks
• The Idyll of Childhood: An Adult Perspective in Soyinka's Aké
• Childhood as the History of Self in Waterland
• The Slave Girl: An Illusion of Childhood
• A Passage into Antithetical Adulthood: Emecheta's The Slave Girl
• The Myth of the English Country House in Ishiguro's The Remains of the Day
• Houses as Cross-Cultural Symbols of Success And Failure in Duff's Once Were Warriors
• Television and Media in Duff's Once Were Warriors
• Urdu, Women, and the House: Symbols of Imperiled Tradition in Desai's In Custody
• The House as Symbol of Stagnant Male Tradition in Desai's In Custody

• The Canon

• Postcolonial Religious Mélange

• Religious Confusions in Soyinka's Aké

• Solitude's Influence on Wole Soyinka's Childhood
• The Confluence of Religion and Economic Class in Saro-Wiwa's "Overhaul"
• The Confluence of Religion and Economic Class in Achebe's Anthills of the Savannah

• Back in the Day: Past and Present in Soyinka's Aké
• Isolation in "Regina's Baby," Anthills of the Savannah, and The Slave Girl
• A Sense of History: Exploring the Relation of Past, Present, and Sanity in Waterland, Aké, and A Forest of Flowers
• Merging Past and Present: Finding Strength in the Wake of Colonialism [The Remains of the Day, In Custody, and Once Were Warriors]
• Isolation in In Custody
• The Rejection of Women in The Remains of the Day, In Custody, and Once Were Warriors
• The Acceptance of Women in The Remains of the Day, In Custody, and Once Were Warriors
• Beth Heke and Female Strength in Once Were Warriors

• Jonah
• The Making of the Maori: Introduction
• The Great Migration
• Kinship and Family Ties
• A Place to Stand
• The Historic Role of the Tribe
• The Second Great Migration
• Treaty of Waitangi and the Maori Ethnic Movement
• The Treaty as the Basis of Protest
• The Waitangi Tribunal
• Maori Ethnic Mobilization
• Tribal Fundamentalism Versus Pan-Maori Organizations
• Changes in the Social Context

• Bukola

• Soyinka's Use of Mini-stories in the Greater Autobiographical Context

• Tension between Past and Present
• Narrator and Narrative in Buchi Emecheta's The Slave Girl
• Blessed are the Poor? Theme in Works by Achebe, Saro-Wiwa, Ayoda, and Emecheta
• Setting and Context
• Blessed are the Poor? Tone and Class Conflict
• Narrative Method

• Guests and Change in Aké
• Methods of Seeking Knowledge and Truth in Peter Carey's Oscar and Lucinda
• The Role of Childhood as Narrative Device in The Slave Girl
• Childhood in Aké
• Freud and Childhood in Waterland
• Pride, Progress and Colonialism in "Home Sweet Home" and Anthills of the Savannah
• Introduction: Imitation and Authenticity in National and Gender Identities in Postcolonial Literature
• Dysfunctional Sexuality in Once Were Warriors
• Imitation and Authenticity in In Custody
• Ishiguro and Imitation in The Remains of the day
• Authenticity, Nationality and Gender in Meatless Days
• Martial Arts, Authenticity, and Change in Sour Sweet

• Syncretic Religion and Colonized Spirituality in Soyinka's Aké

• Introduction: Childhood in Three Postcolonial Narratives
• The Role of Childhhod in Emecheta's The Slave Girl
• Soyinka:Childhood as Ephemeral
• The Role of Childhood in Swift's Waterland
• The Role of the Nigerian Woman in Buchi Emecheta's The Slave Girl , Chinua Achebe's Anthills of the Savannah, and Ken Saro-Wiwa's "Home Sweet Home"
• Wole's Christian Egúngún: The Hybridization of Religion in Soyinka's Aké: The Years of Childhood
• Glass and Water: Symbolic Imagery in Oscar and Lucinda and Waterland -- an Introduction
• Glass and Water, Creation and Destruction
• Glass and Water, Love and Sexuality
• Glass and Water: Progress, Power, and the Weakness of of Empire

• Conflict Between Colonial And Traditional Culture

• Specifically Postcolonial
• Elite Smirks and Populist Chuckles
• "Home, Sweet Home": You Are Where You Are
• Teeming with Detail: Historical and Narrative Specifity in (some, at least) Postcolonial Literature
• Specific Contexts, Specific Styles, Specific Themes -- A Specific Turn Towards the Future
• Questions, Complexity, and Growing Up
• A Brief Overview of Postcolonial Accounts of Childhood and Adulthood
• Childhood as a Prefiguration of Adulthood in Soyinka's Aké
• Uses of Childhood in Emecheta's Slave Girl
• Rippling Outwards: The Uncontrolling Centrality of Childhood in Swift
• Postcolonial Premises: Refusing to Wipe the Slate Clean
• History and Geography in Once Were Warriors
• Failure of Language: Inarticulable Premises in Once Were Warriors
• Working Your Way Out: Building Premises for Change in Once Were Warriors Failed Premise Shifts: Deven's Failure to Change in In Custody
• Shame-ful Premises: The Explosion of Purity in Rushdie's Shame

Last Modified: 14 March, 2002