Experimental writing challenges familiar ways of the representation of reality through a literary text. This chapter interrogates the notion of experimental writing and considers its place among African literary genres. The chapter then zooms in on experimental writing in African languages, with a case study of two contemporary Swahili writers, Euphrase Kezilahabi (1944–2020) and William Mkufya (1953–). Both writers have interrogated in their writing the nature of African postcolonial reality and considered possibilities of altering that reality, through reparation and reconstruction, but also through a full-fledged recasting and redefinition of the intellectual frameworks that support contemporary African life. Both authors use Swahili, but they load language and style with a multitude of new meanings. In effect, language becomes an abstract and flexible structure capable of thorough transformation to conceive of and express a radically new reality. The same applies to the adoption and adaptation of literary genres. Genres lose their typical literary and ideological determinations. The experimental writing of these authors challenges literary realism in African literature and creates a “novel genre” to articulate texts of a futurist and truly emancipatory African philosophy.

In the striking opening sentence of Waiting for the Barbarians (1980), the Magistrate’s attention is drawn to the dark sunglasses worn by his sinister military visitor, Colonel Joll: ‘I have never seen anything like it: two little discs of glass suspended in front of his eyes in loops of wire’.1 The Magistrate cannot see Joll’s eyes hidden behind the reflective glasses, pointing here, at the outset, to a larger problem of optical non-reciprocity in Coetzee’s third novel. The opening sentence’s problematisation of the pronomial ‘I’, which simultaneously also points to his unseeing eye, needs to be read in conjunction with the Magistrate’s enigmatic remark at the ending of the novel: ‘There is something staring me in the face, and still I do not see it’ (155).

This chapter explores the dynamic nature of African online creative writing, focusing on short digital forms that include flash fiction, social media poetry, and short stories. These forms – characterized by brevity, accessibility, and experimentation – challenge traditional literary conventions; they serve as platforms for diverse voices that extend the nature and identity of African literature. The chapter also traces the evolution of scholarship on African online creative writing, highlighting debates on creativity, authenticity, and the potential of new media technology. Further, the chapter identifies platforms that maintain different editorial standards while catering to various audiences. It includes a discussion of the influence of oral tradition, the use of African and non-African languages, the role of social media, and the COVID-19 pandemic’s impact on literary events and publishing. The chapter concludes by emphasizing the democratization of African creative expression through digital platforms that include Jalada, ebonystory, and Flash Fiction Ghana, while acknowledging challenges posed by internet access, resources, and infrastructure. By undertaking an overview of this rapidly evolving genre, this chapter highlights the modes through which African online creative writing is shaping the future of African literature.

This chapter characterizes the evolution and politicization of corporate regulation in Nigeria and crafts a theory of professional interest group politics in Nigeria. The chapter outlines how corporate regulation in Nigeria was politicized during the era of Ibrahim Babangida’s Structural Adjustment Program. In particular, the drafting process of the Companies Decree of 1990 provided a previously unparalleled opportunity for independent manufacturing, services, professional, and labor organizations to contest the revision of the most fundamental provisions of Nigerian corporate law. Informed by this history, the chapter advances a novel theory of professional interest groups in Nigerian politics, which are industry-based organizations that seek to advance their policy objectives at the federal level. Drawing their membership from across traditional regional, ethnic, and class boundaries, they are internally hierarchical and their less-prominent members also benefit from the achievement of shared regulatory objectives. Nigerian professional interest groups exercise a tangible influence over federal policy and its implementation.

This chapter serves as an introduction to African Literature in Transition. The edited volume is intended to function as a compendium of histories of selected genres that have emerged in the written literature and other verbal arts of the African continent from at least the beginning of the twentieth century to the early twenty-first century. The introduction analyzes the role of genre as organizing principle for African literary history writ large both in the popular arts and in high literary forms. The primary argument of the chapter is that understanding African literary histories is not simply a matter of creating a record of what has been written and performed, but also a matter of surveying how and why particular types of African-authored texts have become more or less visible at different points in time through an examination of the role of genres. To advance this argument, the introduction focuses on the sub-categories of genre in African literature rather than the broad generic classifications of African literature such as the African novel, African poetry, or African drama. Equally, the chapter juxtaposes genres that are read mainly locally with those that are read both locally and outside Africa.

This chapter systematizes the comparison of the Nigerian and Saudi cases to offer four primary insights about the past and future trajectories of economic liberalization in resource-wealthy, autocratic and hybrid regimes. First, at the level of political actors, the Nigerian organized private sector appears dynamic and competitive in its pursuit of procedural rents when compared to the ossified Saudi Chambers of Commerce. Second, at an historical level, the Saudi and Nigerian histories of corporate law reform share a common experience of initial foreign importation, before a process of local tailoring and, eventually, their liberalization becoming rent-conditional. Third, at a theoretical level, the diverse causal processes evidenced within the two cases illustrates the potential for greater causal processes within the flexible rent-conditional reform (RCR) framework. Fourth, considering the potential global transition to a lower-carbon economy, the application of the RCR theory suggests diverging future potentials of liberalization in high- and low-cost oil producers, and potential newfound relevance for non-fuel mineral producers.

This chapter presents a historical survey of environmental fictions in Africa, considering the robust scholarly interests in ecocriticism. Of particular significance are the emergence of the environmental fiction genre, marked by the relocation of ecocritical concepts from North America to Africa, the transition of existing literary works to the domain of environmental fiction, an efflorescence of self-representing environmental narratives, the co-existence of fictive and non-fictive narratives, and the attendant ecocritical discourse in the present time. Considering these, African environmental fictions can be grouped into two. The first group are fictions that explicitly thematize environmental justice and declaim the eco-destructive culture of extractive industries and corporate capitalism. Writings under this category are mostly transgressive, with a sense of activism. The second group are fictions that come under revisionist ecocritical studies focused on the idea that certain narratives predating the emergence of ecocriticism lend themselves to an ecocritical reading, in that such fictions have represented human–nonhuman relations, interdependence, and multi-species presence. A further strand of this chapter pays attention to the local particularities of nations such as Nigeria and South Africa, with prominent voices in African environmental fiction, and the peculiar ecological realities represented by authors from these countries.

This chapter explores a genre of activist theatre that has developed in play texts written in the French language in countries of West Africa since 2000. This theatre in Benin, Burkina Faso, and Togo builds on the legacies of performance traditions and picks up the momentum of theatre from the post-independence era starting in the 1960s, and then the activist theatre of the 1990s. This theatre has transitioned from what it was in the twentieth century theatre as it reacts to new realities in Africa and to the redefining of global relations. West African theatermakers have rejected the European models in a literary decolonization effort. By maintaining connections to earlier African forms, contemporary playwrights in Francophone West Africa keep traditional means of storytelling alive and use these influences to write new theatre genres that diverge from those of European theatre. The chapter examines examples of plays from Francophone West Africa to highlight three components of activist playwriting: how it is political, how it is universal, and how it relates to other forms of African theatre. Finally, it approaches theatre as an activist artform in performance, considering who is engaged, and where and when this happens.

Shortly after the publication of Slow Man (2005), Coetzee addressed a query to the chief librarian of the University of Adelaide concerning the preservation of his electronic documents. ‘My manuscripts, since the mid-1990s’, Coetzee explained to Ray Choate, ‘are for the most part on computer disks of one kind or another, and I would like to ensure that they survive uncorrupted in case some scholar of the next generation is interested.’