In “African Literature in the Post-Global Age” Tejumola Olaniyan is to be found asking: Where is the world at—and Africa with it? And for Olaniyan, the contemporary world is most ideally mapped as “post-global.” The purview of the post-global—its “field commonsense”—yields a world of humanity beyond the boundaries of nation, race, and territory, joined in commonalities of global need and planetary responsibility. What are the implications of the world thus known for Africanist literary practice? Can it rightly continue to be a particularist practice dedicated in restricted humanist service to Africa known in racialist, nationalist, and nativist particularity? Or ought Africanist practice to direct its humanism expansively to the service of a world in transnational and cosmopolitan linkage? Olaniyan wants Africanist literary practice to be post-global—and therefore universalist. But is Africanist literary practice well served in discarding the particular? This essay is guided in answer by Aimé Césaire’s caveat: “There are two ways to lose oneself: by segregation in the particular or by dilution in the universal.”

In a continent remarkable for its receptivity to “creative potentiality,” a glimpse at its thriving universe of popular arts quickly reveals the limits of dogmatic, discipline-centered devotion to “genre” (Barber, 2000). And while the “open and incorporative” nature of West African popular production is certainly animated by the basic elements of genre, framing the concept as a finite product of ordered literary laws seems incongruous with practical and popular articulations on the continent. At the intersection of print and visual culture—another synthesis of genres—the Yorùbá Photoplay Series are borne from an array of literary and nonliterary sources, processes and contexts that resonated strongly with pseudo-literate, yet deeply engaged, co-creative audiences at the dawn of colonial independence.

In this article, I revisit a familiar narrative format of the moral narrative that I argue is used to narrate stories of (especially) women in the public sphere in Kenya. Reading a range of media texts, I trace a pattern of representation that I identify as contained within a recognizable genre of the moral narrative and use this genre to identify a structure of narrative of issues around gender and sexuality in Kenya. The examples are drawn from a popular radio drama program as well as from popular press reports of wayward women. The article also engages counter-narratives created by women such Vera Sidika and Huddah Monroe who, by publicly displaying their near-naked bodies in public platforms, create room for a counter-reading of discourses of gender and sexuality in the Kenyan public imaginary. This article will push the boundaries for reading popular cultural forms caught within generic constraints and reflect on the value counter-readings have in complicating readings of gender and sexuality in Kenya more generally.

In response to Olaniyan’s article “African Literature in the Post-Global Age: Provocations on Field Commonsense,” this paper suggests that Olaniyan’s conception of the “planetary” provides a metaphor for imagining a politics of responsibility in the post-global and anti-globalization age. The urgency for planetary thinking is framed within the current ascendancy of big man or “oga” politics represented by the rise of neoliberal populism around the world and in Huntingtonian “clash of civilizations” logic espoused by both elite nativists such as Donald Trump and grassroots ethnonationalists such as Boko Haram. The paper suggests that African studies continues to play a crucial and increasingly urgent role in amplifying, translating, and supporting various African ways of being and knowing that have long served as critiques of the disenfranchisement of those in global south.

This essay is a brief response to Tejumola Olaniyan’s article titled “African Literature in the Post-Global Age: Provocations on Field Commonsense.” Taking up the concept of the “post-global” advanced in Olaniyan’s article, this essay argues for the continued relevance of the concept of postcoloniality as it emerged in literary and cultural criticism in the 1990s.

This essay examines the recent rise in popularity of science fiction in Africa. I argue that this growth can be traced to key shifts within the logic of structural adjustment programs. Over the last twenty years, the World Bank and the International Monetary Fund (IMF) have begun to place a heightened emphasis on “poverty reduction strategies” (or PRSs). These PRSs have taken the two organizations’ longstanding commitment to free-market policies and adapted them to the rhetoric of social and economic justice by suggesting that “sustainable” welfare programs can only be constructed through the “long-term” benefits of well-planned “institutions.”

As I show, this vision of long-term development has encouraged a move toward fictional forms capable of speaking to elongated temporal scales. Using Nnedi Okorafor’s novel Lagoon as my primary example, I investigate how sci-fi narratives have struggled to represent social agency within the longue durée of institutional planning.

“Yes, but . . .” subscribes fully to the arguments on the basis of which Tejumola Olaniyan refutes the often unspoken axioms such as the “corporeal” test by which what counts as genuinely “African” in African literary scholarship is determined. In those arguments, which appear in “African Literature in the Post-Global Age: Provocations on Field Commonsense” (PLI 3.3 [2016]: 387–96), he outlines very explicitly the views about the objects of study, methodologies, and critical theories that have implicitly guided the most powerful scholarship on African literature at least since the 1990s. It expresses some concern, however, that, in calling for a reformation of the “ideological test” that appears to tether African Marxist criticism to the critic’s identity, Olaniyan may have inadvertently left open a back door through which the corporeal axiom could sneak back into African literary criticism. To preempt this, it questions the narrative of globalization on the basis of which he posits the category of the “Post-Global Age.” More specifically, it argues that the temporal scheme represented in the “post” in the “post-global” on which his understanding of globalization rests is flawed. Finally, substituting “late capitalism” for globalization, it argues that “If what late capitalism/globalization longs for is to render capitalism as ineluctable ‘as fate,’ then African literary criticism is obliged ‘to consider the possibility that, to the question, “Are “post,” “trans,” and globalist/neo-universalist propositions now (more than ever) definitionally viable for African literature’ ” that Olaniyan poses, “the answer could be a qualified interrogative rather than a simple affirmative: ‘Yes, but . . . ?’ not ‘Yes.’ ”

This essay on postcolonialism, genre, and Africa will jump scales (in its own version of geo-aesthetic impossibility). The general idea is not to think generic incommensurability as necessarily disabling, but rather that the ill-fitting tropes of genre identification are productively engaged in a politics of non-conformance, here elaborated as a logic of counter-fitting. Counter-fitting, what does not fit generic expectation, is not counterfeiting as false but is a politics of aesthetics in which generic authenticity is put into question by the very unevenness of cultural contact and expression. Like the counterfeit, however, the counter-fit reveals something of the logic of exchange in the circulation of genres while also calling into question the attachment to a pure representation. Drawing on this interpretation of the counterfeit, counter-fitting is less a “paradigm of difference,” to borrow from V. Y. Mudimbe, but rather focuses attention on how such a material production of otherness is problematized at the level of genre. Some examples drawn from Algerian fiction will help to clarify this approach.

This article discusses three representative examples of one particular genre, the Ghanaian ghost movie, to look closely at the creation and evolution of the figure of the ghost in analog and digital video environments. The larger aim is to expand our understanding of African movie genres by accounting for their technological and material dimensions. In Ghana, the earliest ghost movies, here represented by Ghost Tears (Socrate Safo, 1992) and Suzzy (Veronica Cudjoe, 1993), relied on analog visual effects to render the ghost as a visual trace of violence. Appearing almost a decade later, The Chase (Jon Gil, 2011) is noteworthy because it stretches the boundaries of the genre considerably. Jon Gil, the director and producer of the film, exploits digital tools to transform the ghost into a horrifying, multisensory experience; the ghost is felt as a disembodied, affective shock. In both cases, the ghost reflects back on its technological context in unanticipated ways.

Under the no-harm principle, states must prevent activities within their jurisdiction from causing extraterritorial environmental harm. It has been argued elsewhere that excessive greenhouse gas emissions (GHG) from industrial states constitute a breach of this principle and instigate state responsibility. Yet, the relevance of general international law for climate change does not obviate a need for more specific international climate change agreements. This article argues that the climate regime is broadly compatible with general norms. It can, furthermore, address a gap in compliance with general international law – namely, the systematic failure of industrial states to cease excessive GHG emissions and to provide adequate reparations. As a compliance regime, the international climate change law regime defines global ambition and national commitments and initiates multiple processes to raise awareness, set political agendas, and progressively build momentum for states to comply with their obligations under general international law.