Presents a new approach to studying the radicalism of Africa and its diaspora and makes a major contribution to the histories of Black lives, gender studies, jazz studies, politics, and creativity.

Traces detective fiction's history both as a literary form and a mode of critical exploration of the fraught sovereignties of the African state and its citizens.

Groundbreaking examination of literary production in West African newspapers and local printing presses in the first half of the twentieth century.

Julie Ann Ward was a British tourist and wildlife photographer who went missing in Kenya's Maasai Mara Game Reserve in 1988 and was eventually found to have been murdered. Her death and the protracted search for her killers, still at large, were hotly contested in the media. Many theories emerged as to how and why she died, generating three trials, several 'true crime' books, and much speculation and rumour.

At the core of Grace Musila's study are the following questions: why would this young woman's death be the subject of such strong contestations of ideas and multiple truths? And what does this reveal about cultural productions of truth and knowledge in Kenya and Britain, particularly in the light of the responses to her disappearance of the Kenyan police, the British Foreign Office, and the British High Commission in Nairobi.

Building on existing scholarship on African history, narrative, gender and postcolonial studies, the author reveals how the Julie Ward murder and its attendant discourses offer insights into the journeys of ideas, and how these traverse the porous boundaries of the relationship between Kenya and Britain, and, by extension, Africa and the Global North.

Grace Musila is a lecturer in the English Department of Stellenbosch University, South Africa

The first book-length study on the relationship between African literature and new media.

Unusable pasts; scandalous lives; political betrayal, confession and collaboration: reading narrative non-fiction across South Africa's unfinished transition.

A timely analysis of cinema in the Mozambican Revolution that provides a pre-history to current debates on decolonisation, the politics of the moving image, and artistic engagements with anti-colonial archives.

Examines the ways in which space and spatial structures have been constituted, contested and re-imagined in Francophone and Anglophone West African literature since the early 1950s.

The author uses the image of blood under the skin as a way of understanding cultural and literary forms in contemporary South Africa. Chapters deal with the bloodied histories of apartheid and blood as trope for talking about change.

Pim Higginson draws on race theory, aesthetics, cultural studies, musicology, and postcolonial studies to examine the convergence of aesthetics and race in Western thought and to explore its impact on Francophone African literature. France's "tumulte noir," the jazz craze between the two world wars, consolidated an aesthetic model present in Western philosophy since Plato that coalesced into French "scientific" racism over the 19th century; a model which formalized the notion of music as black. France's "jazzophilia" codified what the author names the "racial score:" simultaneously an archive and script that, in defining jazz as "black music," has had wide-reaching effects on contemporary perceptions of the artistic and political efficacy of black writers, musicians, and their aesthetic productions. Reading avant-garde French writers Sartre and Soupault to prize-winning Francophone authors Congolese Emmanuel Dongala to Cameroonian Léonora Miano, Scoring Race explores how jazz masters Louis Armstrong, Duke Ellington, Charlie Parker, and John Coltrane became touchstones for claims to African authorship and aesthetic subjectivity across the long twentieth century. This volume focuses on how this naturalization of black musicality occurred and its impact on Francophone African writers and filmmakers for whom the idea of their own essential musicality represented an epistemological obstacle. Despite this obstacle, because of jazz's profound importance to diaspora aesthetics, as well as its crucial role in the French imaginary, many African writers have chosen to make it a structuring principle of their literary projects. How and why, Pim Higginson asks, did these writers and filmmakers approach jazz and its participation in and formalization of the "racial score"? To what extent did they reproduce the terms of their own systematic expulsion into music and to what extent, in their impossible demand for writing (or film-making), did they arrive at tactical means of working through, around, or beyond the strictures of their assumed musicality? Pim Higginson is Professor of Global French Studies at the University of New Mexico, Albuquerque.

This is the first in-depth scholarly study of the literary awakening of the young intellectuals who became known as Nigeria's 'first-generation' writers in the post-colonial period. Terri Ochiagha's research focuses on Chinua Achebe, Elechi Amadi, Chike Momah, Christopher Okigbo and Chukwuemeka Ike, and also discusses the experiences of Gabriel Okara, Ken Saro-Wiwa and I.C. Aniebo, in the context of their education in the 1930s, 1940s and 1950s at Government College, Umuahia. The author provides fresh perspectives on Postcolonial and World literary processes, colonial education in British Africa, literary representations of colonialism and Chinua Achebe's seminal position in African literature. She demonstrates how each of the writers used this very particular education to shape their own visions of the world in which they operated and examines the implications that this had for African literature as a whole. Supplementary material will be available on-line of some of the original sources. Terri Ochiagha holds one of the prestigious British Academy Newton International Fellowships (2014-16) hosted by the Schoolof English, University of Sussex. She was previously a Senior Associate Member of St Antony's College, University of Oxford.