Abstract
This essay draws material from a number of different times and places: London in 1995, Paris in 1907, Northern Spain in 1937, Arochukwu in the eighteenth and nineteenth centuries, Nigeria in the 1960s. It also transverses disciplines and genres: anthropology, literary criticism, history, poetry, sculpture, painting. Such intellectual, temporal and spatial vicissitudes require some preliminary coordinates to be announced if they are not to become, at best, nomadic, at worst, vagrant. So, this essay is about collage.
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Notes
Rosalind Krauss, ‘The Motivation of the Sign’, in William Rubin (ed.), Picasso and Braque: a Symposium (New York: MOMA, c. 1992 ), pp. 262–3.
S. A. Tyler, ‘The Poetic Turn in Post-modern Anthropology: the Poetry of Paul Friedrich’, American Anthropologist, 86, no. 2 (1984), p. 329.
Sunday O. Anozie, Christopher Okigbo: Creative Rhetoric ( London: Evans Brothers, 1972 ), p. 7.
Christopher Okigbo, ‘Introduction’, Labyrinths with Path of Thunder (London: Heinemann, 1971), p. xiv.
Robert Fraser, West African Poetry: a Critical History ( Cambridge: Cambridge University Press, 1986 ), p. 119.
Chinua Achebe, Morning Yet on Creation Day ( New York: Anchor Press, 1975 ), p. 160.
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© 2000 Palgrave Macmillan, a division of Macmillan Publishers Limited
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Richards, D. (2000). ‘Canvas of Blood’: Okigbo‘s African Modernism. In: Bery, A., Murray, P. (eds) Comparing Postcolonial Literatures. Palgrave Macmillan, London. https://doi.org/10.1057/9780230599550_18
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DOI: https://doi.org/10.1057/9780230599550_18
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