It was like a magic-realist scene out of an
Amos Tutuola novel.
Byatt, Pat Barker, Philippa Gregory, Janice Galloway, Bernice Rubbens, Tessa Hadley, Jeniffer Johnston, Sinead Morissey, Colette Bryce, Maya Chowdhry, Imtiaz Dharker, Buchi Emecheta, Bernardine Evaristo, Diana Evans, Nadifa Mohamed, Beryl Gilroy, Helen Oyeyemi,
Amos Tutuola, Cornelia Sorabji, Atiya Fyzee, Attia Hossain, Sarojini Naidu, Monica Ali, Kamila Shamsie, Gareth Peirce, with both thematic and technical, in-depth analysis.List of contributors include remarkable scholars from mostly UK such as Linda Anderson, Claire Chambers, Deborah Chambers, Hywel Dix, Jane Dowson, Gabriele Griffin, Clare Hanson, Maroula Joannou, Jeannette King, Gail Low, Rebecca Munford, Ruvani Ranasinha, Suzanne Scafe, Susan Watkins, Sue Zlosnik, besides Mary Eagleton and Emma Parker.
In Chapter Four, Kalliney turns to the BBC as a site where metropolitan modernists and emerging postcolonial artists could cohaborate based on shared cultural values, and in Chapter Five he examines the discovery, marketing, and reception of
Amos Tutuola's The Palm-Wine Drinkard and My Life in the Bush of Ghosts (1953 and 1954).
Amos Tutuola) quite realised the mischief that a catharsis between an imprisoned Dionysus and a starving Bacchus could detonate within anyone's bloodstream.
Winds of Change: Modern Stories from Black Africa, (with Jomo Kenyatta and
Amos Tutuola), 1977 (essays)
Linetski resonate with and complement African English and French ones by the likes of
Amos Tutuola, Cheikh Hamidou Kane, Camara Laye, and Ahmadou Karouma.
While working for the Nigerian Broadcasting Corporation, he composed his first novel, Things Fall Apart (1959), at a time when Nigerian prose fiction was represented solely by the fantastic folklore romances of
Amos Tutuola and the popular stories of urban life of Cyprian Ekwensi.
of Northern Colorado) presents an anthology of literature by African writers, including myths and legends, early autobiographies written by African slaves, and works by well-known and new writers such as
Amos Tutuola, Peter Abrahams, Camara Laye, James Ene Henshaw, Chinua Achebe, Miriama Ba, Bessie Head, Tayeb Salih, and Wole Soyinka.
The album would be released in 1981 as My Life in the Bush of Ghosts, a title borrowed from a novel by the Nigerian writer
Amos Tutuola about a young man who wanders beyond the bounds of his village into the topographical and existential unknown.
Amos Tutuola's The Palm-Wine Drinkard constantly appears to its critics as the most locally produced work of an immature artist which cannot transcend the boundary of its literary provincialism.