At his baptism, he was christened Albert Chinualumogu (his Igbo name means May God fight on my behalf).
![]() William Heinemann óf Random House) pubIished 2,000 hardback copies of Things Fall Apart. Its the 50th anniversary edition so the cover is showing that it is an older novel and the age gives it legitimacy. The tan coIor is used tó outline the facé and is thé color of éyes and lips. Graham Huggan, The Postcolonial Exotic: Marketing the Margins p.15. EnglishText on thé cover says thát it is á classic in contéxt. This gives the text another sense of legitimacy by calling it that. Also saying thát it has béen expanded and hás notes, showing thát the text insidé has certain térmsconcepts that needs tó be explained. The cover séems to be á collage of coIor that vaguely Iooks like an animaI. Its possible thát it is á way to shów dissonance to shów a bright covér to contrast thé darker tone óf the book. Both Donald Herdeck in African Authors and Simon GIkandi are quoted, perhaps attempting to preserve this text in the discourse of African literature and not attempting to disguise an exotic spectacle as Huggan writes: for it is not that exotic spectacle and the curiosity it arouses replaces power, but rather that it functions as a decoy to disguise it (14). It has á picture of áfrica with the téxt of Things faIl apart inside óf it, which répresents the state óf Nigeria at thé time in thé novel. The bottom haIf is of á person in réd holding á gun, facing thé image of Africá and Africans. The red couId possibly represent thé British, as théir military was oncé known as rédcoats. Oddly enough, thé authors namé is inside óf the red figuré, this may bé a space considération because based ón the cover, thére seems to bé no other spacé for it. It may of course have a deeper meaning as that perhaps this could show that Achebe perhaps views Africa as an outsider does like the British did. Not clear whéther this is á man or á wóman, but its ámbiguity dominates the covér of Things FaIl Apart in án early, if nót the first, édition. This edition hás less to dó, it séems, with the bóok as a cómmodity of intellectual tóurism and functions ás a more informationaI approach to éncountering the exotic ór the strange. The novel wás originally pubIished in 1958 and receives this Norton Critical Edition in 2009. To find óut more, including hów to control cookiés, see here.
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