![\"africa](\"http:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2014\/04\/africa-in-words.jpg\")
<\/a><\/p>\nCFP: Emerging Perspectives <\/span><\/h1>\non Akachi Adimora Ezeigbo (deadline May\u00a030)<\/span><\/h1>\n\u00a0<\/span><\/p>\n\nEmerging Perspectives on Akachi Adimora Ezeigbo<\/strong><\/span><\/p>\nEdited by Rose A. Sackeyfio and Blessing Diala-Ogamba<\/strong><\/span><\/p>\nAkachi Adimora Ezeigbo has emerged as one of Nigeria\u2019s leading female writers. Her distinguished career gained prominence in the early 21st<\/sup>\u00a0century and continues to evolve through prolific writing across genres of poetry, the novel, the short story and children\u2019s literature. As a leading Nigerian writer, she has produced five novels, twenty-two books for children, four collections of short stories, three collections of poetry and two plays. In addition to creative writing, she is an activist, professor and gender theorist at the University of Lagos in Nigeria. Her works define her as a feminist artist and scholar committed to social transformation and gender equality for females. Her fiction is a wellspring of creativity that captures the female perspective on the Nigerian experience. Ezeigbo\u2019s novels span the setting of the pre-colonial and post-independence era through the creation of vibrant literary texts as a window into the Nigerian world. Her trilogy,\u00a0The Last of the Strong Ones\u00a0<\/i>(1996),\u00a0House<\/i>\u00a0of Symbols<\/i>\u00a0(2001) and\u00a0Children of the Eagle<\/i>\u00a0(2002) has repositioned the identity of Igbo women in the past by drawing a portrait of women\u2019s lives that is authentic and historically grounded in the pre-colonial environment of Igbo society.<\/span><\/p>\nAkachi Adimora Ezeigbo is among the constellation of Nigeria\u2019s leading writers of children\u2019s literature and her books for children places her squarely within the canon of writers who, in the decades after independence, amplified the exigencies of nation-building as a catalyst for relevant literature for children on whom Nigeria\u2019s future depends. In the tradition of oral artists of the past, Adimora Ezeigbo has effectively adapted salient features of Nigerian folklore to address contemporary issues in the world of the Nigerian child of the 21st century.<\/span><\/p>\nHer literature has earned critical acclaim and multiple awards such as the coveted ANA Spectrum Prize (2001), the Zulu Sofola Prize (2002) for women writers, the Flora Nwapa Prize (2003), and the WORDOC Short Story prize in 1994. She was awarded the Cadbury Poetry Prize (2009), the ANA (Atiku Prize 2008) and in 2008 she, along with Mabel Segun won the Nigeria Prize for Literature for\u00a0My Cousin Sammy<\/i>. In 2012\u00a0Roses and Bullets<\/i>, an epic novel about the Biafra war was short listed for the Wole Soyinka Prize for Literature. As a tribute to her voluminous literary production, we invite contributions to a volume that will highlight the works of Akachi Adimora Ezeigbo that may include her creative works, (fiction, poetry, drama) academic writing, and feminist theory.<\/span><\/p>\nWe welcome critical essays that interrogate (but are not limited to) the following:<\/span><\/p>\nFeminist Literature<\/span>
\nFeminist Theory<\/span>
\nActivism<\/span>
\nCulture and Aesthetics<\/span>
\nChildren\u2019s Literature<\/span>
\nPoetry<\/span>
\nWar<\/span>
\nOrality<\/span>
\nThird Generation Women Writers<\/span>
\nNigerian and Diaspora Women Writers<\/span>
\nThe woman writer as Artist\/Critic\/Change Agent<\/span>
\nWomen\u2019s Leadership<\/span>
\nCustoms and Traditions<\/span>
\nIgbo Women Writers<\/span>
\nHistorical Fiction and Women Writers<\/span>
\nThe Old and the New (Generational Issues in Women\u2019s Writing)<\/span><\/p>\nPlease Submit a 250 word Abstract by May 30, 2014. Please Include the following in your proposal: your name, current position an institutional affiliation, paper title, your mailing address, email, and phone number. Final manuscripts will be due April 30, 2015.<\/span><\/p>\nAbstracts should be submitted to Rose Sackeyfio at\u00a0\u00a0sackeyfior@wssu.edu<\/span><\/a>\u00a0and Blessing Diala-Ogamba\u00a0 atbogamba@coppin.edu<\/span><\/a><\/span><\/p>\n
\u00a0<\/span><\/p>\n Emerging Perspectives on Akachi Adimora Ezeigbo<\/strong><\/span><\/p>\n Edited by Rose A. Sackeyfio and Blessing Diala-Ogamba<\/strong><\/span><\/p>\n Akachi Adimora Ezeigbo has emerged as one of Nigeria\u2019s leading female writers. Her distinguished career gained prominence in the early 21st<\/sup>\u00a0century and continues to evolve through prolific writing across genres of poetry, the novel, the short story and children\u2019s literature. As a leading Nigerian writer, she has produced five novels, twenty-two books for children, four collections of short stories, three collections of poetry and two plays. In addition to creative writing, she is an activist, professor and gender theorist at the University of Lagos in Nigeria. Her works define her as a feminist artist and scholar committed to social transformation and gender equality for females. Her fiction is a wellspring of creativity that captures the female perspective on the Nigerian experience. Ezeigbo\u2019s novels span the setting of the pre-colonial and post-independence era through the creation of vibrant literary texts as a window into the Nigerian world. Her trilogy,\u00a0The Last of the Strong Ones\u00a0<\/i>(1996),\u00a0House<\/i>\u00a0of Symbols<\/i>\u00a0(2001) and\u00a0Children of the Eagle<\/i>\u00a0(2002) has repositioned the identity of Igbo women in the past by drawing a portrait of women\u2019s lives that is authentic and historically grounded in the pre-colonial environment of Igbo society.<\/span><\/p>\n Akachi Adimora Ezeigbo is among the constellation of Nigeria\u2019s leading writers of children\u2019s literature and her books for children places her squarely within the canon of writers who, in the decades after independence, amplified the exigencies of nation-building as a catalyst for relevant literature for children on whom Nigeria\u2019s future depends. In the tradition of oral artists of the past, Adimora Ezeigbo has effectively adapted salient features of Nigerian folklore to address contemporary issues in the world of the Nigerian child of the 21st century.<\/span><\/p>\n Her literature has earned critical acclaim and multiple awards such as the coveted ANA Spectrum Prize (2001), the Zulu Sofola Prize (2002) for women writers, the Flora Nwapa Prize (2003), and the WORDOC Short Story prize in 1994. She was awarded the Cadbury Poetry Prize (2009), the ANA (Atiku Prize 2008) and in 2008 she, along with Mabel Segun won the Nigeria Prize for Literature for\u00a0My Cousin Sammy<\/i>. In 2012\u00a0Roses and Bullets<\/i>, an epic novel about the Biafra war was short listed for the Wole Soyinka Prize for Literature. As a tribute to her voluminous literary production, we invite contributions to a volume that will highlight the works of Akachi Adimora Ezeigbo that may include her creative works, (fiction, poetry, drama) academic writing, and feminist theory.<\/span><\/p>\n We welcome critical essays that interrogate (but are not limited to) the following:<\/span><\/p>\n Feminist Literature<\/span> Please Submit a 250 word Abstract by May 30, 2014. Please Include the following in your proposal: your name, current position an institutional affiliation, paper title, your mailing address, email, and phone number. Final manuscripts will be due April 30, 2015.<\/span><\/p>\n Abstracts should be submitted to Rose Sackeyfio at\u00a0\u00a0sackeyfior@wssu.edu<\/span><\/a>\u00a0and Blessing Diala-Ogamba\u00a0 atbogamba@coppin.edu<\/span><\/a><\/span><\/p>\n
\nFeminist Theory<\/span>
\nActivism<\/span>
\nCulture and Aesthetics<\/span>
\nChildren\u2019s Literature<\/span>
\nPoetry<\/span>
\nWar<\/span>
\nOrality<\/span>
\nThird Generation Women Writers<\/span>
\nNigerian and Diaspora Women Writers<\/span>
\nThe woman writer as Artist\/Critic\/Change Agent<\/span>
\nWomen\u2019s Leadership<\/span>
\nCustoms and Traditions<\/span>
\nIgbo Women Writers<\/span>
\nHistorical Fiction and Women Writers<\/span>
\nThe Old and the New (Generational Issues in Women\u2019s Writing)<\/span><\/p>\n