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Textual Deviancy and Cultural Syncretism: Romantic Fiction as a Subversive Strain in Black Women’s Writing

Textual Deviancy and Cultural Syncretism: Romantic Fiction as a Subversive Strain in Black... JANE BRYCE & KARI DAKO Textual Deviancy and Cultural Syncretism Romantic Fiction as a Subversive Strain in Black Women's Writing' Sisi Eko, you no dey shame? Plenty husband is too much. If you marry taxi driver I don't care If you marry taxi driver I don't care. (Popular highlife of the 1960s by the Nigerian musician Bobby Benson) T THE END OF AMA ATA AIDOO'S NOVEL CHANGES,2 the heroine is left wondering if she will ever "get answers to some of the big questions she was asking of life." Her speculations formulate themselves into the words of a highlife song heard "on an unusually warm and not-so-dark night": "one day, one day." Highlife, the great popular dance music of West Africa, originated in the 1940s as a hybrid of Western instrumentation and local rhythms. It celebrated the optimism of the independence era and the raised expectations of material prosperity. Aidoo's novel is an ironic commentary on the disillusion that followed the degeneration of the physical fabric of Ghanaian society and the disappointment of those early hopes. The vehicle - the use of which is itself an ironic about-face on what she presents as an earlier, 'revolutionary' position which precluded http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Matatu Brill

Textual Deviancy and Cultural Syncretism: Romantic Fiction as a Subversive Strain in Black Women’s Writing

BRYCE, JANE; DAKO, KARI
Matatu , Volume 21 (1): 10 – Apr 26, 2000
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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0932-9714
eISSN
1875-7421
DOI
10.1163/18757421-90000314
Publisher site
See Article on Publisher Site

Abstract

JANE BRYCE & KARI DAKO Textual Deviancy and Cultural Syncretism Romantic Fiction as a Subversive Strain in Black Women's Writing' Sisi Eko, you no dey shame? Plenty husband is too much. If you marry taxi driver I don't care If you marry taxi driver I don't care. (Popular highlife of the 1960s by the Nigerian musician Bobby Benson) T THE END OF AMA ATA AIDOO'S NOVEL CHANGES,2 the heroine is left wondering if she will ever "get answers to some of the big questions she was asking of life." Her speculations formulate themselves into the words of a highlife song heard "on an unusually warm and not-so-dark night": "one day, one day." Highlife, the great popular dance music of West Africa, originated in the 1940s as a hybrid of Western instrumentation and local rhythms. It celebrated the optimism of the independence era and the raised expectations of material prosperity. Aidoo's novel is an ironic commentary on the disillusion that followed the degeneration of the physical fabric of Ghanaian society and the disappointment of those early hopes. The vehicle - the use of which is itself an ironic about-face on what she presents as an earlier, 'revolutionary' position which precluded

Journal

Matatu – Brill

Published: Apr 26, 2000

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