Although Africa has had a long and enduring tradition of poetry and drama, the novel is today, as almost everywhere else in the world, the dominant literary genre on the continent. Its privileged status as a written genre may be attributed to European influence and its association with an imaginative consciousness grounded in literate modernity. However, there can be no doubt that the appeal of the novel has to do with the integrative function that narratives have always played in African societies, a role that is well illustrated not only by the didactic and reflexive purpose of the folk tales and fables that inform the sensibility and define a primary level of the imaginative faculty in traditional African societies, but also by the centrality of the mythical tale, extending to the great oral epics – as exemplified by the Sundiata epic of Mali and the Ozidi saga of the Ijaws – with the ideological and symbolic significance these varieties of the narrative form assumed in precolonial times and their continued relevance in the contemporary period. In short, the novel has acquired today a cultural significance that was once the exclusive province of the oral narrative. The continuity with the oral tradition is evident in the novels written in the African languages, in which the derivation of content and mode is direct and immediate. But the oral–literate interface, in its various manifestations, can also be felt as a quality of the fictional works of many an African writer, reflecting either a conscious design or, as is often the case, the effect of a cultural retention determined by the African background.