and apparent dislocation of over three hundred years of slavery, colonialism,
and neocolonialism as they are manifest in the texts under discussion." In es-
sence, complementarities and influences are found between African-American
and African writers: for example, Gloria Naylor, Ama Ata Aidoo, Sembene
Ousmane, and Ayi Kwei Armah; Harlem Renaissance and Negritude writers;
W.E.B. Du Bois and Pan-Africanism; Marcus Garvey and Africanity. The sig-
nificance of Oral Tradition (derived from Africa) in African-American writing
is discussed, with attention to the notion of hearing giving new meanings and
voices to written texts and thus continuing the interaction between artist and
audience.

The theme of women and their conditions in society is given in-depth inter-
pretations; and critics analyze the works of two major women writers, the Nobel
laureate Toni Morrison (rightly dealt with by two different critics) and Alice
Walker. As others have stated concerning other aspects of African culture and
experience, these critics affirm that, in regard to the much debated issue of
feminism, "concepts of patriarchy, masculinity, and femininity should be prob-
lematized rather than assumed" ( Kieti). Unfortunately, writers such as Alice
Walker fail to problematize concepts when they contemplate the African woman.

Contributors to this collection also use the insights of eminent African writers,
such as Chinua Achebe, Ngugi wa Thiong'o, and Es'kia Mphahlele, as bases
for viewing the literature written by those taken overseas. The idea of writing
as an act of atonement with the past is posited. Finally, two strands of attitudinal
positions are easily delineated in regards to Africa: while some African Amer-
icans consciously attach themselves to Africa, others forcefully reject such Af-
ricanness. The critics in this collection have tried to explain those positions.

What these essays prove beyond doubt is the importance of Africa to the
African American, even in cases where a deliberate attempt is made at repudi-
ation. The fact is the American Dream has by and large remained a mirage.
Africa as symbol survives "because it holds the hope of legitimating the black
self in a discursive formation which has often denied its very existence" ( Gi-
kandi).

Finally, it is appropriate to explain some stylistic aspects of the collection,
particularly with regard to the use of upper- and lowercase in words such as
"dream," "civilization," and "black." The American Dream is very well
known all over the world; just ask the millions abroad praying to obtain a visa
at the much-dreaded U.S. consulate. One notes the potency (not to forget the
potential) of the Dream, and the urgency, which would explain a certain des-
peration to succeed on the part of many and, overall, the feeling that it is such
a tall order that only the extraordinarily strong and the exceedingly fortunate
will achieve the goal. To begin to participate in the Dream is, first, to cross the
ocean from hell into heaven. Thus, America becomes the center of civilization,
the Civilization, the one and only place worthy of anyone's interest. And the
myth dates back to centuries when the slaves were brought from Africa. In using
the capital letter, one is emphasizing the particularity of Civilization, implying

-xiv-