This detailed book that contains 6000 heavily interpreted personal names is likely the biggest book collection of African personal names. Just as with his other books on names, written quite recently, Musere goes into dedicated detail in showing aspects like the origin of the name and the meanings (which can be one or many). A lot of the names are shown to be associated with aspects like proverbs, significant occurences and traditions. African names are shown to be unique in that analyzing them provides a wealth of information concerning cultural practice, migration, and assimilation. This is a study and naming guide that gives detailed examples of God/ Goddess, war, natural phenomena, and season related personal names. Many are examples of names that depict the behavioral characteristics, physiological or physical condition of the newborn. Indeed many African names illustrate the state of mind of the namer, states of bereavement or jubilation, and so forth. This book is heavily referenced and indexed unlike most other books on African names.

"...the topic [of personal African names] is sufficiently rarely treated as to merit close attention. ...[The book's] introduction is a splendidly informative essay. In it [Musere] explores the origins of African names. Just as we have many names revealing the activities of our ancestors, such as Archer, Fisher, Smith, Taylor and many others, the same applies to African names. [Musere] gives examples such as canoe builders, executioners, rain-makers and cattle-keepers. The reverence for human relationships is perpetuated in many names, while a variety of birds, animals, fish, trees and other natural phenomena are the bases for others. Africa has long been one of my favourite continents and I have numbered many Africans among friends. ...Musisi means "earthquake" and...Bukenya means someone who acts ungraciously or reluctantly. ...Musere's book is packed with information and it is easy to consult. It is equipped with a useful index, so you can be directed to all those names derived, say from eating and harvesting, lakes and
roads, trees, witchcraft and a host of other topics and activities." K.C. Harrison, Founder President, Commonwealth Library Association in "Languages and Literature" Reference Reviews 14/5 [2000] 29-36.

"'A thorough exposure of African name meanings encourages and stimulates people of both African and non-African descent into feeling comfortable about taking on such names.' ...such as Sindushwa (I cannot be surpassed); Mbarushimana (God is on my side); Nkurunziza (Good news). ...Okot (Born during the rainy season). ...This is a fascinating book. ...it certainly brings home the fact, of which I was previously unaware, that the uses and the choices of names have quite different connotations and expectations in different societies." (Sheila Allcock, University of Oxford, in "African Research & Documentation" No. 85, 2001).

"Some examples are 'Libbila (m): setting sun; [name] given to one born at sunset'; 'Kimenyi (m): the one who knows a lot'; 'Shumpa (f): a name given to a child who is troublesome'; 'Baliza (f/m): they cause to weep [or mourn, or cry].' The 6000 [name] examples [in the book] are fascinating to read, and will most certainly open up a new area in the field of nomenclature. In addition, an interesting index will lead the user to specific works found in the definitions, such as lakes, plants, gardens, and food. This is an impressive volume and should fill a void in the area of etymology. It is highly recommended." (Carol Willsey Bell in "C&RL News," May 2000, pp.428-429).

For sheer dripping tropical lushness of prose that at the same time is watertight and flowing, nothing can beat Chatwin's VICEROY OF OUIDAH. I have long admired the author's essays, and this is only my second (and far from last) foray into his fiction. Picture to yourself a story in two parts, each occupying roughly half the book. The first is a gathering of Francisco da Silva's descendents years after his death; the second follows his life from its humble beginnings in Brazil to his glory days as a much-loved and much-hated slave-trader and finally ending in his slow undoing in the vortex of passions, jealousies, and greed in the West African society in which he lives.

That same society was described by another great writer almost a century earlier. Sir Richard Francis Burton's A MISSION TO GELELE, KING OF DAHOMEY captures the scene perfectly some 50 years or so after da Silva's passing, including the all-female army regiments of the King and the weird dysfunctionality of his court. Chatwin seems to have taken a few leaves from Burton's book and woven a fascinating study of the rise and fall of a very limited man.

We never really see into da Silva's mind: In the first part of the book, he is merely a revered forefather; in the second, an adventurer whose decline is as precipitate as Citizen Kane's. The King's Amazon warriors howl at his passing: "It was not the leopard that killed him. Not the buffalo that killed him. It was night. Night that killed him." That -- and everything else.

At no time does da Silva understand the irony of his being a slave broker whom the slaving ship captains could trust. We do not follow the slavers to the New World, just see them off at the docks as they begin their grim voyage. The Dahomean kings use da Silva, but profoundly distrust him. When he no longer serves their purpose, they and the whole society in which he lives drive him to the final extremity.

There is one link between the life of da Silva and the celebrations of his descendents: The character of Mama Wewe. We see her only at the end of both parts, yet she unifies and justifies Chatwin's bi-partite division. Put this one on the shelf next to Conrad's HEART OF DARKNESS.

The Viceroy of Ouidah was Francisco Manoel De Souza, (da Silva in Chatwin's book) who came to Ouidah (also spelled "Whydah"; part of the Abomey Empire, later called "the Slave Coast", Dahomey, and currently, Benin) in the 1750's and eventually became the main broker between African slave sellers and European slave buyers. He played a significant role in the nation's history, and was actually named Viceroy of Ouidah by an Abomey king.

Chatwin's "The Viceroy of Ouidah" (his fist novel, written after visiting West Africa) is a very well written book. I found it a pleasure to read, hard to put down (it is one of the few books I have read in a single sitting). It is a short book: nothing in Chatwin's text is extraneous; every sentence advances his story, which is an intriguing blend of fact and fiction, past and present.

Werner Herzog made a film titled "Cobra Verde" (1988, starring Klaus Kinski) which is based on "The Viceroy of Ouidah". In his "Wonders of the African World" book and television program Henry Louis Gates, Jr. travels to modern-day Ouidah and encounters the descendents of De Souza, who still live on his estate.

Chatwin possessed the rare gift of suggesting in such a slight volume the destiny of a man, of times and of places that are completely lost in the terrae incognitae blanks of our minds. The density of his prose, the way it goes so immediately to the heart of the matter (and the matter here is human flesh, corrupted by the years, sold on slave markets, cut in pieces to make Dahomey-style kitchenware) like African termits are supposed to ruin overnight wooden mansions. Quite a fascinating tale. Good fiction, it reminded me, cannot lie, it merely unfolds glimpses of truths that have or have not been but that would be lost to the historian or the anthropologist. But of course this shouldn't be read as an impartial account of the "ebony trade".

The people of the Dagara culture relate to us that children have themselves recently re-emerged (via being born) from the world of the spirit, of the ancestors. They are fresh and full of wonder at being here, still very expressive of the spirit of the other world in all its truthfulness and spontaneity.

Sobonfu's husband [Malidoma Patrice Some] has covered very incisively the funeral and male initiation ceremonies in his three books; Sobonfu, by contrast, goes much more than he (given the stated topic) into such things as the pre-conception naming ritual. Then there is the ritual asking the child [before birth] what he/she is coming to life to be, to accomplish within the community. Then everyone in the community will be able to help the child in every way possible to grow into the person that he/she would be.

And there is the welcoming ceremony done for every child, each who has come on this long journey from the land of the ancestors to the land of the living. One beautiful feature of this is that the other village children (standing together in the next room) imitate the newborn child's first cry as accurately as possible to let the newborn know he/she has come to the right place.

Sobonfu goes into exquisite detail describing the bounteous relationship between children and their grandparents. The old ones are all getting closer to the world of the ancestral spirits, as they are approaching closer to the time they leave this world, whereas the young ones are most familiar with that world, having recently returned from there.

In another chapter she discusses how and why miscarriages occur, how strongly they affect the community (especially the mother and other close relatives), and what this has to do with the world of the ancestors. Then she articulates, once again, the rituals which attend the phenomena to help the grieving process that occurs as a result of this emotionally and spiritually traumatic breach [in the thin, permeable barrier between village life and that of the world beyond].

And there is the bonding ritual [re-commitment between husband and wife], the fertility ritual, and the bonding ritual between the child and its grandparents, as well as other ancillary activities.

Through all these examples she effortlessly and courageously articulates the vision the Dagara have of their life and community, so seamlessly it astounds you - the dawning of this worldview almost sneaks up on one as it gradually takes shape, almost from within the reader's subconscious. Her writing is the equal of that of her husband, as she dynamically melds all aspects together into an interpenetrating, wondrous whole.

"Children are the life-givers, the healers, the messengers of the ancestors. They bring out the spirit of the community - they bring spirit home. Children are embraced, celebrated and supported, for without them there would be emptiness in the hearts of all villagers." [p. 85]

In her last chapter, she recapitulates and outlines in detail how to perform all of the rituals previously mentioned, for the benefit of those here in the West who would like to transit to this most humanizing and spiritual form of community in their own lives. She first gives a summary of how to set up a ritual in general (and how it usually should flow), after which she tells about how dreams and/or storytelling can have a role, as well as how and why healing and integration can take place. For healing of hearts and souls in the community is, if not the primary focus for a given ceremony, always [at the very least] a significant by-product.

For more on the subject of African childrearing and educational practices (as well as how this affects an economy in which women do all the farming), this time from a Kongolese (central African) point of you, be sure to check out the slim volume by Fu-Kiau and Lukondo-Wamba, titled 'Kindezi - the Kongo Art of Babysitting', available at a number of fine university libraries around the world.

This book is infused with wonderful stories and lessons and the beauty and power of ritual from the West African culture. The writer heightens the readers awareness of the importance of each member of community and their roles and contributions and rituals to strengthen each individual thereby the overall village. She presents rituals in such a way that they can be done in America and by you, the reader.

This is a beautiful book.

I loved reading this book! It helped me to understand so much about my life. The since of community and love that is transfused into the children that are cared for by the methods in this book is a story that needs to be told.The rituals sound wonderful and I only wish that I had this knowledge prior to the birth of my children.This is a book about healing as well as love and honor for all of nature.This book gives wonderful information to instill pride in my African heritage. Prayer and intent are also stressed in this book and I find both to be very powerful forces in my life.

We bought three book by nick greaves while travel in south Africa. We buy books for our three grandchildren( age 4,6,8) while travelling in South Africa last year. We have given them so many books through the years from around the world. They love these books so much. First the parents read to them,every night now the oldest reads to the younger ones. I wish the author writes more books for children.

My 9-year old son came home from school today very excited about this book, which his teacher had started reading to the class. He took out his wallet, counted his money, and asked, "Can we go on line and buy this book right now? I have enough of my own money to buy it." This is enough proof for me that kids love it.

The sub-title "And other tales from Africa" seems to suggest that this book was written for children, but it is fun to read for adults as well. Nick Greaves tells stories, tales, fables and legends from the African tribes about different animals and after each section gives facts about them. By doing this especially for tourists the book gives a general idea of the wildlife one might come across while traveling in Africa and furthermore the book supplies the not native speaker with useful vocabulary. The illustrations of Rod Clement are just as good as photos, sometimes even better, because good close-ups of mainly the small and nocturnal animals are quite rare. "When Hippo Was Hairy" was followed up by "When Lion Could Fly", which is highly recommendable, too.

Awww this book was good. I work as a student aide in my school library and the pictures caught my eye so I read it. Good pictures funny story.

I first read this book when I was 6, and fell in love with the story and beautiful pictures. I never tired of reading it and missed it terribly when it was lost during a move. Now I am buying one for my daughter, who is 6, and hopes she likes it as much as I did.

Who's in Rabbit's House kept my 4 year old on the edge of his seat. When read with different voices for each character it is even more fun. The end was a suprise and gave us all have a good laugh.

This book is incredible. As Don McClure's great niece, I've grown up hearing about him. I did not realize the extent of his experience and impact on the people of Africa until I read about it. His love for Christ and his dedication to Him has deep meaning for me. I've learned so much about him...and even though I never got to meet him, I feel that I know him after reading this book.

The story of Don Mclure's life in Sudan and Ethiopia gives a realistic view of missionary life in rural Africa. Don struggled not only with the cultures (that he loved) in Africa, but American mission bureaucrats trying to keep up with their rules from offices in New York. There are fascinating insights about how to take Christ to primitive cultures, about not protecting yourself, and how to deal with witchcraft and broken vehicles. This is the best missionary biography that I have ever read.

This book is a biographical story of Don McClure and family through their missionary journey through East Africa. One of my favorite books of all time. Espically shows how one must lean on God to survive, and how faith in God will see the Lord's will done. Also shows the saving grace of the Gospel both spiritually and physically. A great defense of Christian missions simply through the stories Don told in his letters home. This will reach your heart and show you what missions is all about...the Love of God.

If you can get a hold of a copy of this book...consider yourself blessed. You will be changed

An excellent read if you know at least a little about South African History. It's a "who's who" of the inside story of Africa's "Negotiated Revolution" and could count as a "cliff hanger" if we all didn't already know the outcome of the story. But for anyone who would like to know how the worlds most remarkable political transition was pulled off without a bloody coup, who all of the players were, and why one the worlds most brutal and racist governments kept the world's most enigmatic man alive; then this is the read for you.

Tomorrow is Another Country is the sequel to the Mind of South Africa. It described the transition from apartheid state to the Rainbow Nation. Allister Sparks is a South African journalist (and is currently teaching at Duke University) who sought to get "the real story" before the actors started to forget. He found collaboration from all sides so everyone would know the sacrifices made by both sides to form the new South Africa.

An excellent balance between being comprehensive and being readable, Tomorrow is Another Country is not a difficult read but not nearly as inspiring as Nelson Mandela's book, Long Walk to Freedom. It does however capture more of the Afrikaaner experience, something Long Walk to Freedom often fails on doing.

This is an outstanding book with many original and personal accounts of what brought South Africa to a negotiated abandonment of minority rule. Objective and beautifully written.

A retracing of some of the journeys (Morocco, Egypt, Syria, Southern Arabia, the Kuria Muria Islands,Turkey and the Crimea)of the fourteenth century traveller, Ibn Battuta.
The author is a British born and educated Yemen resident, fluent in classical and colloquial Arabic and deeply learned in history and music. The book contains quotations in French, German, Russian (in the Cyrillic alphabet), Turkish and Greek. I thought I'd caught him misquoting Pliny, but then realized he was making a Latin joke. Some of his polyglot puns are outrageous. In The Umayyad mosque in Damascus he found Ismailis and Shiites at prayer, but that the orthodox were keeping the Sunni side up.
The long digressions on obscure Arab writers and religious teachers and the intrusive parade of erudition might put some people off. It's a bit like reading Umberto Ecco where some readers, such as myself, get entranced by the writer's flattering assumption that we are as clever as he is.
He travelled rough and travelled alone. He explains at one point that he cannot marry because he is an "ah, orientalist." He shows much interest in, and sympathy with, the Moslem religion but I got the impression that. like his fellow orientalist, TE Lawrence, he likes Arabs best if they are poor and rural, a faintly patronizing attitude.

I was drawn to this book after realizing that, having done my share of low budget travel in Asia, I would comprehend more from a travel narrative about Arabia then the hyperbolie in the Press and the flood of books proclaiming insights into Islam. I was not disappointed, and in fact was pleasantly surprised at how well Mackintosh-Smith tells his story. His premise, to retrace the route of the famous 14th century Morroccan traveler Ibn Battutah, allows the book to easily offer up comparisons of life in the hey day of Islamic civilization versus our own modern day time of war. This is one of its strengths and delights. You can readily see that people in many ways have not changed much.

I found it refreshing to read of MacKintosh-Smith's many encounters with everyday devote Muslims as they visited the tombs of saints and in true hospitality took him under their care. I was also delighted to learn so much about the southern coast of Oman, a place that looks totally deserted on maps of the Arabian Peninsula, but which turns out to be home to (mostly) very friendly people. It reminded me in some ways of travelogues from rural towns and the midwestern United States where life is slower and people pay more attention to travelers. And like the midwest, instead of raving fundamentalist Muslim fanatics, time after time MacKintosh-Smith encounters educated, polite people who try to help him in his quest even if it seems a bit bookish and impractical to them. (Several people try to tell him, " That was 700 years ago, things are different today!")

The book is not perfect of course - it does have it's slow moments. These seem to come chiefly when MacKintosh-Smith gets caught up in describing his own state of mind rather than keeping to his formidable powers of describing the scene around him. There is a certain awkwardness when he tries to reveal some of his own more private encounters but then at the last minute drops it and leaves you hanging. And things can get slow when due to the ravages of time he can find no connection between where he is and what was there in Battutah's day. Lastly, the book does not cover all of Battutah's travels, just the first third. Oh well - small price to pay for what is overall a very pleasurable and informative read. Through MacKintosh-Smiths's eyes I have gained a sense of how an ordinary Muslim citizen in the Middle East lives. I look foward to reading more should MacKintosh-Smith continue the journey and publish another volume.

Those lucky enough to have read Tim Mackintosh-Smith (or "Ahmad Kandash," according to some of his native Arab neighbors) on his adopted land of Yemen (I wish the American press had kept the British subtitle "Travels in Dictionary Land") will find the same strengths in this account. Outside of, say, an Omani snack of dried shark and Scotch or a jeep bounce, the report from the hinterlands is driven more by insight than ignition. In the manner of many such travellers' tales from more leisurely pens and patient eyes, not much happens in the way of thrills; a subtler, refined retelling of IB's adventure through his own retracing gives a filtered, reflective sheen to the book.

I sense throughout an unease with his "masahi," or Christian status--with many he meets understandably amazed at his command of Arabic, Tim's constantly finding himself almost apologetic for his "infidel" status. I wonder if ensuing books (long life to the author so he can tell his journey's sequel--even if he's the same age as me--not that old!) will unfold not only the geographic and personal encounters he tells so well, but his own spiritual struggles. Foreshadowed perhaps in the transcendent dervish dance he witnesses.

Anyone who can gracefully cite the apropos Edward Lear allusion, the culinary reference (some of which escaped me due to my parochial palate), or learned medieval reference and still keep a travelogue dynamic and unassumingly witty while avoiding cliche or pandering is an accomplished scholar and a skilled word-smith. His range of knowledge enters at the right moment, and then recedes; he largely does not show off what he knows. Instead, he sprinkles it into the text to flavor the immediate image or conversation he's narrating to us. Not an easy feat.

But the world he enters can never be entirely plumbed by a Westerner; skilled as he may be, this author knows the power of the unresolved detail. I have no idea how he makes a living, what he does exactly in Yemen, the depth of his Christianity, or his sexual preferences! (Despite his Crimean guide Nina.) This rendering, skillfully, shifts the focus on and off the first-person narrator. Conjuring up the aura of differance, as the French critics opine, endures and makes his encounters memorable. For instance, I wonder if Habibah's "tambul promoting, er, cohabitation" [p. 238] worked? His "research assistant" never seems to have reported back, or else Tim proves once again how mystery trumps the mundane.

Dear Sirs,

This is good book for those who are interested in African art but not very deeply. It is kind of catalogue which gives you a list and discription of general topics in tribe by tribe art.
I would recomend it for beginners in African art and culture.

Probably the best book currently available on African art. Everything else of value is either out of print or in French. Brilliant photographs, excellent text, authoritative background on the sources and location without a plethora of anthropological subtext, as so often happens in books on African art. If the subject interests you, you'll find nothing better!

I think most every African art collector would agree that owns this book, that this one is a must have! I keep coming back to it again and again as I collect my favorite tribes. The beautiful color pictures show perfect examples of the art types of each tribe. After getting a good understanding of this easy to read book, you will be able to recognize each artistic characteristic of the many diverse tribes in Africa. This book breaks down all of the most important tribes in Africa , chapter by chapter. It's an excellent overview of African art and again, a must have for all Africa art lovers and collectors.

I am an avid reader of African literature, both fiction and non-fiction (especially memoirs). I am always searching for contemporary non-white writers (the white writers are good, but it is not unreasonable to want other perspectives), so I was happy to learn about Zakes Mda from a recent New York Times book review column, and I ordered his two books immediately.

'Ways of Dying' is not about post-apartheid South Africa, though the blurb suggests that. I estimate it to be set in the late 1980s, shortly before the end of the old regime was drawing near.

It's a short book, but it's well written, and paints a vivid picture of life in South Africa. And yes, the 'black perspective' is different, and very interesting, and most welcome.

WAYS OF DYING is one of the most fascinating novels that I have read in years. The book is set in South Africa during a period that seems to span the end of the apartheid regime and focuses exclusively on the lives (and deaths) of poor South African Blacks in rural villages and urban shanty towns near what I suspect is Durban. Fans of Marquez will feel very much at home here in a world of "magical realism", yet while Mda may have been influenced by novels like 100 YEARS OF SOLITUDE he has a voice that is uniquely his own, and one that I sense is profoundly rooted in Africa. Mda's "hero" is a self-declared Professional Mourner, who ekes out an existence at the edge of society. Some aspects of his life are almost grotesque in form, and the deaths that surround him are often truly horrifying, yet somehow I found this a profoundly optimistic and human book. In spite of the worst that the world can throw at him the Professional Mourner is able to transcend mere existence & by the end I was shamelessly rooting for him. I should add that I used this book in a course on the Turn of the Century, and one of my toughest-case students, whom I had failed to excite with anything else, came into my office today saying "I just LOVE Mda" You will too,

Like all recent South African fiction I have read, this one is full of horrible violence. But it is a love story, and much more optimistic than Coetzee or Brink.