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the globe, are changing the face of African literature in the twenty-first century.
I would also like to express my sincere gratitude to the editors and staff members at Cambria Press. Their help and guidance have proven indispensable in putting this volume together. I appreciate their expertise and logistical skills.
Finally, I must thank my sweet and caring family for their unconditional love and indulgence. A wife who understands deadlines, time crunches, and the ins and outs of academe is invaluable. Thank you, Ashley, and much love to you. When this project began, I was the father of one child, our son Jack. Upon its completion, we will have added two more daughters, Abby and Caroline, the former by way of international adoption, and a fourth child due sometime in the middle of 2010. Credit goes to these five for keeping me grounded and focused on what is most important in life.
On behalf of R. Victoria Arana, I would like to thank the following entities and individuals for granting permission to use their images in chapter 9: The Moorland-Spingarn Research Center, Howard University for the image of the Ibeja statues, plate 1; Voodoo Authentica of New Orleans Cultural Center for the image of the Altar to Yemaya and Oshun, plate 2; and Graham Nicholls for his image of the Elegua, plate 3.