Colonial Voices

Ever since the nineteenth-century the imperial romance has been understood, on some level, not merely as a self-evident genre of adventure capable of producing an aesthetic experience but as a political construction of ideological identifications and exclusions. There is a serious dearth of critical work on late-imperial writers of popular romances written about the Anglo-African colonies and the regions beyond their imperial frontiers. A growing interest in Africa now means that even the Anglo-imperialist using the voices of the original inhabitants to write about Africa is no longer a forgettable novelist from an insignificant corner of the globe. The strategic move in Colonial Voices is to re-evaluate -voice- in terms of -landscape,- in which natural space and cultural space are interdefining, though radically different for indigenous and capitalistic societies. Thus when economic globalization invaded diverse indigenous habitats, it redefined the land as a capitalistic resource. Tribes were progressively displaced from their traditional physical homelands which served as the framework for their cultural voices-for myths, songs, ceremonies, visions. A magnificent scholarly study