Poems of Black Africa

Soyinka introduces the anthology as different than other anthologies because Poems of Black Africa is arranged by themes that go beyond what Soyinka calls the "customary settings" of other ways of organizing such as "regions, period, style, [and] authorship."[1] Soyinka states that the purpose of this anthology was to put together poems that envelop the reality and sense of black Africa, both "modern and historic," through poetic expression.[2]

Poems of Black Africa was well received by Ursula A. Barnett declaring it a successful anthology, although it is acknowledged the work focuses on quality rather than comprehensiveness, despite being described as encompassing “most of the experience of the African world.” [3] She notes in her review many of the works included were written by African statesmen. According to Barnett the works vary from expressions of passion, pain, beauty, betrayal, nostalgia, revolutionary fervor, death, wit, humor and satire. The works represent traditional writings from a wide array of groups including the Swahili, Yoruba, Zulu and other sources, including seven original poems from Soyinka himself. Barnett's review first appeared in World Literature Today, Vol. 51, No. 1, Homage to Elizabeth Bishop, Our 1976 Laureate (Winter, 1977).

Michael Kelly of University of Hull, Northumberside criticizes the works in Poems of Black Africa as being not poetic in the way they treat themes of race, identity, and suffering, calling the poems “propagandist and rhetorical.”[4] In contrast to Barnett's review, Kelly notes a lack of quality writing throughout the selections. He calls the work difficult to understand and says they are full of overwriting and lack clarity, a fault he places on the anthology and on Soyinka himself. Kelly says genuine feeling expressed in the poem is not enough to overcome the lack of structure and form. Ending his critique, Kelly states that black poets would have been better served by an anthology that focused on quality rather than themes, calling Poems of Black Africa “provocative and embarrassing.”[5]

Abangira - G. Adali-Mortty - Costa Andrade - Jared Angira - Peter Anyang' Nyong'o - Kofi Awoonor - Kwesi Brew - Dennis Brutus - Siraman Cissoko - J. P. Clark - José Craveirinha - Viriato da Cruz - Bernard Dadié - Kaoberdiano Dambara - Joe de Graft - Solomon Deressa - Noémia de Sousa - Birago Diop - David Diop - Mbella Sonne Dipoko - Marcelino dos Santos - Tsegaye Gabre-Medhin - Armando Guebuza - Ismael Hurreh - Antonio Jacinto - Paulin Joachim - Charles Kabuto Kabuye - W. Kamera - Jonathan Kariara - Amin Kassam - Yusuf O. Kassam - Keorapetse Kgositsile - Kittobbe - Mazisi Kunene - Kojo Gyinaye Kyei - Taban Lo Liyong - Stephen Lubega - Theo Luzuka - Valente Malangatana - Ifeanyi Menkiti - Mindelense - Oswald Mbuyiseni Mtshali - Agostinho Neto - Athru Nortje - Richard Ntiru - Atukwei Okai - Gabriel Okara - Christopher Okigbo - Yambo Ouloguem - Frank Kobina Parkes - Okot p'Bitek - Lenrie Peters - Rabérivelo - Isaac Rammopo - Jorge Rebelo - Arnaldo Santos - L. S. Senghor - Onésimo Silveira - Wole Soyinka - J.-B. Tati-Loutard - Bahadur Tejani - B. S. Tibenderana - Enoch Tindimwebwa - Kalu Uka - Tchicaya U Tam'si - Okogbule Wonodi

• Alien Perspective
• Ancestors and Gods
• Animistic Phases
• Black Thoughts
• Captivity
• Compatriot
• Cosmopolis
• Early Passage
• Ethics, Mores, Abstractions: Man, the Philosopher
• Exile
• Indictment and Summons
• Land and Liberty
• Man in Nature
• Mating Cry
• Mortality
• Poet's Passage
• Praise-Singer and Critic
• Prayers, Invocations
• Miscellany