| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910456477203321 |
|
|
Autore |
Alobwede D'Epie Charles |
|
|
Titolo |
Crying in hiccoughs [[electronic resource] /] / by Alobwed'Epie |
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Bamenda, Cameroon, : Langaa Research & Pub. CIG, 2011 |
|
|
|
|
|
|
|
ISBN |
|
1-283-11404-6 |
9786613114044 |
9956-579-45-9 |
9956-579-10-6 |
9956-579-80-7 |
|
|
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (62 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
African poetry |
Electronic books. |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
|
|
|
|
|
Nota di contenuto |
|
Cover; Title page; Copyright page; Dedication; Contents; Preface; Introduction; My Little Song; My Song in Silver; Seal Your Lips; The Demigods; The Past, The Present, The Future; No Past, No Present, No Future; The African Press; Of What Shall I Be Proud?; Mere Nature's Call?; The Election Day; The Monument; The Unknown Soldier; To The Youth of Africa; The Beaten Pen; The Weeping African Child; The Cry of the Street Man; These Tears; Ode to the Vegetable; Prophecy; The Collapsing Cliffs of Fako; What Is My Fate?; By The Beach Of Victoria; The Ugly One; Adieu, Lady Queen (1992 Sept 4th) |
Depleted HarvestThe Lock; There Is Peace; Where the Thieves Go; Parcous Vita; The Way We Build; The Chain; Kick the Saint; Know This; Can We Ever Know?; The Eternal I; The Scaffolds of Our Being; God's Sons; Hail the Rumour; The Eden of the Fallen Deacon; Human Nature; Bamenda; Our Byzantium Day; Bang Your Doors; Our Nation's Day at Bongo Square; False Friends; Brother?; The Interred In Senegal; Eve; Ecstasy: The Cry of the Street Girl; The Woman; Love; Parlour Walls; A Broken Vow; More Questions than Answers; I Still Bequeath to You; I Work On Sundays; World Book Day; Adieu Lambo John Akwe |
In memory of Stephen Edie 1962Back cover |
|
|
|
|
|
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
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. |
|
|
|
|
|
|
|
| |