I'll say first why I write. It intrigues me, I wonder why I write. How it is that I write and why it's so important. I take this as an act of life. One thing that scares me as a writer is a Lari song “ndombi ku ndombi sadidi mukanda komanda diandi Matsoua Ndele.” That can be translated as “even a black can write, hey, things are progressing. “ In the beginning going to school was considered an enormous act, it was civilization, it was the very center of civilization, and writing a letter for a black person, a poor black, was a grandiose thing. It was in Matsoua's time, in the forties, that people sang this song in the pool to make rubber.

Economic models, like scientific paradigms, predispose actors towards certain patterns of behavior or practices. Over time these become accepted as normal practice which everybody is expected to observe or to follow. This is how theoretical orthodoxies are established. However, even orthodoxies rely on refinement of techniques. In economics this is widely recognized, as it guarantees competitiveness among various practitioners. The context within which this occurs is often taken for granted since it is implicit in given theoretical models. For instance, in development theory it is assumed that the prevailing Euro-American economic model is universally valid. It is more than likely that this itself has become a social value which the West wants to maintain. Consequently, as a scientific proposition, it cannot be clarified since the West uses its political and military power to guarantee the necessary conditions for the reproduction of the same globally. Insofar as this is true, it is only reasonable to grant the fact that economic models inevitably carry with them unacknowledged normative presuppositions. This is best illustrated by the fierce ideological battle that occurred between the so-called socialist and “free market” adherents during the cold war.

In our book, Arms and Daggers in the Heart of Africa, Michael Olisa noted that external intervention in an internal conflict could be problematic even if carried out on humanitarian grounds. All sides of the conflict must see the intervening force as indeed neutral for it to succeed in its mission. The conflicting forces must also accept, separately and individually, that intervention is in their interest. In turn, the act of intervention must be precise and clear in objective, with the capability to be implemented in accordance with a program endorsed by all parties.

What is palabre? Not only an exchange of words, but also a social drama, a procedure, and set of human interactions. Palabre is therefore a putting into scene, a putting into order, and a putting into words

Sozaboy's language is what I call "rotten English," a mixture of Nigerian pidgin English, broken English and occasional flashes of good, even idiomatic English. This language is disordered and disorderly. Born of a mediocre education and severely limited opportunities, it borrows words, patterns and images freely from the mother-tongue and finds expressions in a very limited English vocabulary. To its speakers, it has the advantage of having no rules and no syntax. It thrives on lawlessness, and is part of the dislocated and discordant society in which Sozaboy must live, move and have not his being. (K. S.-W.)

As we push closer to the twenty-first century, it is relevant to speculate whether the different peoples of the world can have any prospect of a more peaceful coexistence in the coming millennium than hitherto. It seems reasonable to suppose that intercultural dialogue in philosophy can be of service in the pursuit of this ideal and ought therefore to be promoted or, at least, cherished by all philosophers of goodwill. In this way they would be playing their part in the re-education of humankind. But if “ought” implies “can” then whether philosophy can be intercultural is a prior and more fundamental question.

When the “object” gazed at is called Africa and when the gazing subject is Africa, the observer cannot help but conclude that any gaze that is related to Africa is an intersection of gazes calling forth several questions: Who is looking at Africa? What is Africa looking at? Who looks at the one who is looking at Africa? Two problems emerge from this: the identification of the subject, and the discrimination among objects and themes produced by the limited scope of these gazes. If the gaze at (or of) Africa is an intersection of perspectives, these perspectives will only find stability if they are related to the African history that is in the making. This is a plural history, for geographic diversity, and the multiplicity of acting figures and sociopolitical organizations give African history a “changeable and diverse” character. Any evaluation of the relationship of Africans to their history must be an attempt, a sketch that makes no pretense of providing a unique and certain interpretation of the African lived experience (Erlebnis) by implementing the kind of controlling philosophy of history that fixes the beginning, the length, and the order of a people's history. It is more a question of restating, with the uncertainty that characterizes any evaluation of a specific history, the problem of the relationship of African history to its becomings. How, by which conditions and through which actors does this plural history speak its moments of creation today? At its heart, how does it articulate the conflicting overlap of the gravity of existing institutions and the audacity of creation? The exploration of these questions first centers around the often discussed theme of African identity (self). The stakes at this level involve the detachment of the conditions of a dynamic re-appropriation from this notion of identity - at the very moment when globalization is conjugating itself by turns in the imperative, the indicative, and the conditional. Next, the examination will focus on relationships to otherness (the other). How can intersubjective relations be declined differently?

*Suffering

Why so much pain/Why so much hate/When we are brothers/And should offer a hand?/Look at the suffering/Look at the torment/Coming from within/Our land is dying./Look at the suffering/Look at the torment/Coming from within/Our land suffers too much./Look at this mother/She has no more tears/She has nothing left to lament/Our land is dying. /Angola is so great/So rich and so beautiful/Let there be a place for all of us and for those who love it (bis)./Long live Angola/Long live Angola/Long live Angola