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This rich conversational auto-biography tells the story of the political life of Ndeh Ntumazah who was born in Mankon in 1926, spent the best part of his life suffering and sacrificing for the freedom of Cameroon, and died in London on January 21, 2010, at the age of 83, as President of the Union of the Populations of Cameroon (UPC). Ntumazah was a political activist for nearly 60 years. He joined the UPC around 1950 and remained a militant of the party until his demise. When the UPC was banned in French Cameroon in 1955, he was advised by his comrades to create another party in the Southern Cameroons, which would be the UPC in disguise. The party was called 'One Kamerun Movement - OK', with Ndeh Ntumazah as its President. Following its banning, the UPC started a war of liberation in French Cameoon, so Ntumazah from the safety of Southern Cameroons, liaised with his comrades in French Cameroon to carry out their underground operations. Ndeh Ntumazah left Cameroon to seek political asylum abroad in 1962. He stayed in Ghana, Guinea, Algeria and finally in Britain where he spent most of his time sensitising the world about the plight of Cameroon using various avenues like writing, conferences and deputations. Ntumazah is dead, but he lives on because his life stands out as a point of focus.

Crying in Hiccoughs is a graphic presentation of the more realistic phase of Africa's politico-economic and historico-moral evolution in general, and Cameroon's, in particular. From the colonial to the post-independence era, the poet sees nothing worthy of praise-singing and handclapping. So, he resorts to crying in hiccoughs and invites the blind, deaf and dumb brainwashed praise-singers to join him in singing his little songs so as to expose and challenge the demagogy.

The extremely irritable and quick-tempered chieftain, Akendong II has 14 children, all girls, and is saddened by the fact that he has no chopchair, a male heir to his throne. Then news comes to him that his favourite wife has given birth to a pair of twins, boys. He is even more angered by the fact that he has two heirs, a source of trouble for his kingdom. To avoid his wrath, his councillors change the story, sending away one of the boys to grow in hiding. Learning of the truth about his birth 15 years afterwards, the prince in hiding returns, kidnaps the palace prince and demands his full share of the kingdom. His will is done, but at a very great cost to the chief's peace of mind and relationship with his people. This is by far the shortest of Asong's novels and the least complicated by comparison. But the conflicts, the hallmarks of his art are still there, so also is his breathtaking suspense.

Education of the Deprived is a perceptive socio-artistic examination of the key works of some major writers of Anglophone Cameroon literary drama today. For over two decades now socio-political developments in Cameroon, including the liberalization of the press, have led to an unprecedented proliferation of political, journalistic and imaginative writings. Availing themselves of their new-found freedom of expression, Cameroonians in general are forcefully articulating their views more than even before, and creative writers, in particular, are artistically recording intimate and painful experiences in the on-going endeavour to make sense of the socio-political environment; they are mapping out, through images and symbols, the peculiar contour of the collective Cameroonian soul. What observers have noticed, with regard to Anglophone Cameroon imaginative writing, however, is that there are few significant critical works to match the burgeoning creative literature. While in the 1970s there was a cry concerning the scarcity of imaginative works by Anglophone Cameroonians, the complaint now, at the turn of the 21st century, is that there is a dearth of critical literature capable of catapulting, on to the international literary scene, the Anglophone Cameroon literature being written. This book covers both traditional and modern drama as written by Anglophones, lays bare the technical differences between the two dramatic traditions, and brings out the central themes developed by these committed dramatists.

Dust, Spittle & Wind is a story of youth, dreams of innocence and transcendence told within a postcolonial setting. It follows Olu Ray, the main character of the novel through a bitter-sweet journey of loss and self-realisation. The novel focuses on the final moment before actual emotional maturity when dreams either become flowers of brilliance or cold ashes. The novel describes the cold hand of fate as it swings between both extremes. Olu Ray eventually survives at the price of the abrupt loss of his innocence. The book teems with colourful characters and the blistering heat of the physical terrain appears to mirrors the lush sexuality on display. It explores the nature of taboo, the frustrations caused by it and the compulsions it provokes. In Sanya Osha's telling, society seems to be on the verge of irreparable breakdown but somehow manages to pull itself back from the abyss. The tension that runs through the novel is relentless but then, there is also much tenderness and subtlety that balances everything out. This is unquestionably a feat of powerful artistry. It deservedly won the Association of Nigerian Authors' Prize for prose in 1992.

The bicultural polity of Cameroon has become problematic over the years. In addition to the increasing marginalization experienced by its English speaking component in many domains (politics, administration, economy, culture), it is facing mounting inequality and disarray despite the nation-building aspirations at reunification in 1961. This book examines the very basis of the union crisis by tracing the causes to the asymmetrical nature of negotiations between the contracting partners - the founding fathers of the union - and the politics of guile and force that has characterized the regimes in Yaoundé. From a federal model that takes the equality of the contracting parties as a given, the polity has developed into an ethno-regional patchwork designed by its architects to be essentially unequal in nature. Consequently, the segmented Anglophone community can exist only in contradiction within itself. They have been worked into the regime's statecraft of consciously maintaining or re-activating ethnic boundaries inherited from colonialism. An analysis of the cultural and linguistic dimension of the union shows contrasting drives between the assimilation/attempts to dominate by the French-speaking component and resistance by Anglophones. The analyses further show the projected harmonization and rollback by the State, the creative blends and the crystallization around continuing or reproduced colonial experiences, a fierce competition between elites with a drive to impose the culture of the demographically dominant and a refusal to accept the idea of a linguistic minority. The contentious experience, Yenshu Vubo argues, can still be remedied by reforms in a politics of possibilities. These reforms must be ready to re-examine the constitutional basis of the union by revisiting the often dismissed question of the form of the state defined as "one and indivisible" (a new federal architecture as requested by several political voices). Institutions should be restructured to attend to diversity issues and essential linguistic differences while consolidating any strategic gains of the union such as the creative blends and the acceptance of specificities of each community, statutory equality of citizenship and the essential clauses of the first federation.

This collection represents, in substance and style, folk tradition in the North-West Region of Cameroon. Contained herein is a sampling of various human emotions, parental concerns, and societal conflicts: emotional insecurity, deceit, obstinacy, power and control, trickery, malevolence, greed, jealousy, and more. The stylistic representation is reflected in the double writing, as shown by the dialogues, the songs, and the use of choruses. These tales are ageless, placeless, and, therefore, anonymous; yet they are also the collective wisdom of a people who are supposed once to have walked the planet and communed with other animals and non-animals on the same terms. That is how humans, animals, vegetation, water, and hills/mountains are equally animate and have linguistic expression for their thoughts and sentiments. Folktales served primarily as entertainment, and also as a convenient way of teaching history and culture, and they invariably promoted good listening and speaking skills in the vernacular language as children learned to model the rhetorical patterns of their adult folklorists - with children taking turns night after night till they had gone full circle and then started recounting the same tales over. While the morale of some of the tales is obvious, that of other tales is not; and that, again, is typical both of the traditional mind set and of the educational backdrop of storytelling.

Writing therapy is a varied collection of poems of a brisk, forward taste. The poet uses her poems as a form of expression of the harmonies and tensions that reassure and perturb the mind, heart and Spirit. This is a canvas of emotional expression from the frustration of the African youth to the declaration of the feminist, the desolation of the lovelorn and finally the weathered contentment of the Christian believer!

This book critically analyzes the complex relationship between the African state and capitalist globalization. It describes in great detail the significant effects of the various historical trajectories of global capitalist expansion on the nature and functions of the African state while focusing on the present triumph of globalized neo-liberalism on the African continent. The history of the state in Africa has been misread and misinterpreted through the Eurocentric convictions of European African scholars alike. The State in Africa has, since its colonial inception, has served as the best possible political shell for capitalism, enabling it to penetrate, again possession and establish itself firmly and securely, regardless of institutional and leadership instability at the helm. The glaring artificiality of the state in Africa, coupled with the failure of the local ruling classes to rise above the limitations of their provenance, is to blame for the myriad crises of one-party authoritarianism, violent coups and military dictatorship. It is also to blame for the progressive alienation of the African people, and the prevailing crises of identity and citizenship. Independence does not seem to have changed much, as the state is still controlled by the most powerful foreign, economically dominant class, which, has appropriated political power as well to further compound the subjection and exploitation of the oppressed Africans. Today the continent continues to grapple with underdevelopment, civil wars, intra-state conflicts, political instability, state failure and outright collapse, thus calling into question the viability and survivability of the Westphalian state model in Africa.

Rock of God centres on a significant war that Nso fought with Bamoun in the 1880s, and which war resulted in a devastating defeat for the Bamouns. During this war, a major Nso combat rule was broken: the Sultan (king) of Bamoun was decapitated. Both local story tellers and historians have indicated that the Sultan was only supposed to be captured alive. The play explores some very compelling reasons for this violation. It mocks any attempt at categorization because the events involved are as historically relevant as they are anthropologically profound; as literarily dense as they are linguistically compelling. It surely stands on its own because it clearly combines concepts of docu-drama, morality play, classical theatre, historical drama, and much more. But beyond all else, it is great artistry that demonstrates the genius of experimentation.

This collection of poems evolves as a network and satellite of an expressive pursuit of justice with a difference. For, though this poetry simultaneously shapes global and grassroots smiles and tears, its corpus is no matter for laughter or weeping. In familiar but not identical voices, the poet tackles social evils as parasites while cross-examining cultural assumptions in the same vein. Triple form -title poem, Letters to Ethiopia and Some Random poems, explores nightmares of colonial mission civilisatrice by dint of two decades of inspirational events from 1965 as invitations into a more serene world emerging from post-discoveries.

The author of Harmattan Whispers reproduces life in such a harmonic order enveloped with dreams carefully filtered and balanced. As a keen observer of his society, he describes with passionate fervour movements that give existence its density. Emmanuel Matateyou in this poetic cocktail of his takes the reader through an African society where Harmattan, this North East trade wind, destroys as it sweeps along the ugly, the vicissitudes and the shredded pieces of life to leave place to a new kind of drunken quest. In the flux of his words and imagery, he gives life to dreams, fantasies and the Utopian visions of this lover of life, all of which are brought to the limelight through poetically revealing correspondences all rooted in passion and hope.

The forces of nature warranted that these two English speaking poets, linguists, translators cum academics and researchers be born in Ndop, Ngoketunjia Division, in the North West Region of Cameroon. The one is based in the USA and other in Australia. Disgusted by the rotten political clime in their country as well as the political stance of politician vis-à-vis the English speaking minority, these two poets in their poetry explore the ins and outs of the problems of existence, not only of the minority English speaking Cameroonian but those of minorities in a modern world with a push for globalization. To them art is not only a weapon for survival but one for resistance.