Africa Books

I knew nothing beyond the basics of apartheid in South Africa until I read Harry Bloom's incredibly powerful book. Even now, I cannot claim that this book has made me an expert, far from it, in fact. But, I have a much greater appreciation of what like was like in the Transvaal (or black locations) in South Africa. Even though the title is a work of fiction, I believe that the reader will get a much greater understanding on this topic. (And like other reviewers, I admit I picked this up because it is written by Orlando Bloom's father.I will use any excuse to pick up a new and different book! )

Bloom's story is set in the fictional town of Nelstroom, S. Africa. We are introduced to two main characters, Du Toit, the location manager and Mabaso; a black man who has come from Johannesburg with the hopes of easing the hardships of life in the location. Du Toit begins his job with the best of intentions, trying to make life better while still enforcing the laws of apartheid. He will eventually, of course, give in to the higher ups. Mabaso is an educated man. He makes the people of the location aware of how they suffer. And we all know education is a powerful thing. The people who stand behind these two men will clash and begin to rebel against each other. This is a book you know will not have a happy ending from the first page.

Since I can't find the words from my own experiences to describe the total unfairness and confusion of apartheid, I would like to take a quote from the book, which stuck with me from the point I read it until I finished and long after that. "Facts are twisted, illusions fostered, truth destroyed to prove that the perverted is normal, the sordid noble, the brutal beautiful, the guilty innocent, the coward a hero, disaster a victory-and the reverse of all these things."(Pgs 277-278). Harry Bloom was imprisoned for writing this book, that alone is testament to its truth. Despite its heavy subject, it is a great, fast paced read. And a book that will stick with you for a lifetime.

Walter Mabaso, a black freedom fighter who comes to Nelstroom, a fictional town in Africa, and Hendrik Du Toit, the newly arrived white Manager for Nelstroom's "Location," the segregated ghetto where the African population must live, are the two major characters whose psyches and lives Harry Bloom explores with the skill of a literary surgeon. They and the other characters are strikingly drawn, reminding me of the clarity of characterization in John Steinbeck's GRAPES OF WRATH. Both novels deal with dispossesed people struggling to salvage their lives and their dignity against poverty and oppression, except in Bloom's gentle masterpiece, the oppressors are the proponents of apartheid in South Africa. Now we live in a world where Nelson Mandela has triumphed, but Bloom's story takes us to the early days of the fight for racial equality, and goes beyond it. The plot is elegantly structured to show how oppressive governments create a vicious system where the victim becomes the human fuel it runs upon, until the ruling class' blithe disregard for the human rights of the under class ignites into a storm of confrontation . . . one so volatile that no cover-up can sweep away the ashes. Add to this a use of language that is so concise, every word builds a sparse clear picture in the reader's mind and eye. Transvaal Episode won the British Authors Club Award in 1957 for best novel of the year. What amazes me is how the characters and events in this novel could be equally played out today in other countries where human right struggles are still ongoing. This novel should be required reading for anyone dealing with national and international politics and power. It teaches us to understand how easily those in power can brainwash us into believing what we think we see, when we're really seeing what they want us to, and the true picture is totally different. A book for all people, all countries.

I must admit that I originally picked up this book for the curiosity factor of it having been written by actor Orlando Bloom's father. However, from the very first page the gripping tale of oppression, hopelessness, and desperation in South Africa sucked me in like few novels I can remember. The writing style was lush in its descriptive power, and the author's intimate knowledge of both the people and the problems of the region shines through page after page. Although one knows from the very first page that this tale will *not* have a happy ending, even in its horror the conclusion makes perfect sense and holds one until the very last paragraph. The one minor gripe I had with the novel was the shifting perspective and timeline; however, both were required to gain a full sense of the events and the insanity behind them. This is a serious work for the serious reader and definitely worth more than a single reading. I highly recommend this work.

I wasn't certain what to expect when I got this book. I was a bit concerned that since it was written about experiences in the 1960's that it would feel a bit dated. Although the 1960's view of the future of East Africa's peoples and wildlife is not entirely accurate, I am finding the book to be an excellent way to prepare for a trip to Tanzania--for someone wanting a combination of background on the peoples, landscape and wildlife. Matthiessen's usual subdued, to me, dry style seems leavened a bit by his awe. And the account of the elephant researcher who's 'close encounter' approach puts Matthiessen off his feed, was really enjoyable to me--a departure from his usual, very dry approach. I recommend this one to anyone interested in the peoples and wildlife of Eastern Africa.

Is there anyplace wild enough to lift the weight that Occidental culture has placed on our shoulders? Africa, where the first man walked erect, may be the last place where man can feel awed enough by Nature to try and remember that he, also, is just another among the millions of other species that populate the planet. Paul Bowles, Bruce Chatwin, Doris Lessing, Isaak Dinesen and Peter Mattieshen found that answer, and shared the experience. In Mattieshen's poetic account, the tragic and fabulous beauty of a continent that has been devastated by greed and war is revealed, as the impossibility of traveling Africa and not falling in love with it and being changed by it forever.

This is one my very favorite of Matthiessen's impressive canon, ranking easily with Far Tortuga and The Snow Leopard. Indeed, I think some of the passages in The Tree Where Man Was Born might surpass the stunning Himalaya descriptions in the latter book. Matthiessen's eye for landscapes is unparalleled, and his lyric evocations of beast and horizon have an otherworldly quality. A prime example, and one to look out for, is his account of finding rhinoceros tracks on the high volcanic slopes of Mt. Lengai. Another highlight are his crystalline observations of ecological moments during a vigil atop an East African kopje.

As the title indicates, TRUTHFEASTING serves a veritable banquet of literary treats, philosophical insights, and soulful observations. Ja A. Jahannes is clearly not a poet inclined to biting his tongue when it comes to sensitive issues, no matter if in regard to race, religion, or anything else. Whether examining the nature of living life in the political spotlight, as he does in "The Death of Jesse Jackson," or musing on the notion that "Poets are Precious People," his lyrical vision is framed in the unique music of his own illuminated soul.

An extraordinary bonus in this volume is the informative essay, "Africa-America: Perspectives from Brazil and the USA, which was presented as a speech on the 100th Anniversary of the Abolition of Slavery in Brazil.

In addition to being the author of TRUTHFEASTING, Jahannes is well-known as a playwright, minister, educator, and creator of the critically acclaimed "Montage for Martin," a celebration of the life and work of Dr. Martin Luther King, Jr.

Aberjhani
author of I MADE MY BOY OUT OF POETRY
and ENCYCLOPEDIA OF THE HARLEM RENAISSANCE

Do you remember when it was considered cultured to recitepoetry from memory? Well, educator, psychologist and poet Ja A. Jahannes in his latest collection of poems and essays titled "Truthfeasting" gives you the nutrients for poetry reciting again. "Truthfeasting" is a seemingly never-ending orgy into the both painful and joyful experiences of being Black in America. From the journey beginning in Africa to "Being Black in America, to "Rap Dance", Jahannes cooks up rich oratory delights, like the present "turntable generation, zapping your African bodies across centuries". "Truthfeasting" is thought provoking and profoundly lucid, which is a lost art among many poets. It is also revolutionary. The poems are revolutionary not only because of their fiery language and radical messages, but beause the poems are highly instructive and suitable for use as lesson plans in elementary and high schools. Jahannes writes for the young at heart. Often poets get lost in pedantics and pontifical vomintings of the mouth. They are even more disturbing when their poems run into multiple pages and takes hours to complete! Jahannes is one of the few poets who understands that a good poet is one who captures the essence of a thought, feeling, moment or event in simple, clear and poignant language. Robert Frost once said, "a complete poem is one where an emotion has found its thoughts and the thought has found the words" Feast on "Truthfeasting" and see a God at work or (play?) where in the poem "dream maker", Jahannes says, "I am a foolproof plan to own tomorrow". It is exactly these type of statements why poets are never invited to talk shows!

This is an inspiring work about the state of Black America and its relation to the rest of the world. It address every facet of life in Black America from slavery to economic empowerment to AIDS. Two of its most powerful entries (at least in my opinion) are "Neckbones" and "Black Generation". The book's first poem (Neckbones) makes one think of how items of vital sustinence which were considered insignificant by the masses are now being gouged in price. "Black Generation" serves as a wake-up call to every single living black person regardless of age. It challenges the reader to gain knowledge and not just show it: "...Nefertiti chains without Nefertiti brains..."; how preachers take advantage of parishioners, and the dangers of promiscuity. The content of this book makes for good conversation and heated debate. It's his sounding board to Black Americans but for the rest of the world. Check it out!!!

Reading Sonia Sanchez, is like running free with your home-girls on a Saturday evening, dressed to the nines, a purse full of money and no particular place to go; except the desire to just get out of the damn house and paint the town red! I first encountered Sanchez about five or more years ago after seeing the movie Lovejones staring Nia Long and Larenz Tate. There's a scene in the movie where Nia recites one of Sanchez's pieces "Poem #3."
I gather up
each sound
you left behind
and stretch them
on our bed
each nite
I breathe you
and become high.
I remember the fact that it was poetry caused me to run and look Sonia up to gather more information about her work. I read a couple of her pieces and of course at that time I didn't feel that there was anything special about her work so I bypassed her until about a year ago I ran across the same piece and this time I was caught. I can never fully explain what or why I was captured, but from that day forward I became a semi-supporter of her work. I've spent much time creating my own poetic pieces and dipping into the poetic mist every now and then to pay homage to these greats, but not too much, until I happened across this new collection of pieces by Sanchez entitled Under a Soprano Sky.

"haiku (for the police on osage ave)" tickled my fancy right off the bat. For some particular reason I didn't bother to start at the beginning of the book, preferring instead to just thumb through it and read wherever my eyes fell. This piece touches something inside of me as far as imagery/imagination is concerned and word usage.
they came eating their
own mouths orgiastic teeth
smiling crucifixions
I won't bother getting in depth with this jank other than to say that the imagery birthed within my head after reading a line like "own mouths orgiastic teeth / smiling crucifixions" is priceless. There is a simplicity that Sanchez has that never ceases to amaze me. I find myself having the urge to jump up and down at certain turns of phrases or lines that appear scattered throughout her work. To take something as simple as police cruising up and down a street in the neighborhood, seemingly, looking for a reason to stop someone or anything else; though the action itself is simple and of no importance to us, the way she paints it here in just 17 syllables gives a new life and perception to the situation.

"3x3 Carl: a Black man Speaks" is next in my choice of pieces that engaged my attention. Along with her ability for simplistic genius is her charming way of stating the truth; whether it be concerning lost love or domestic abuse, there isn't any hedging or for that matter shunning from these subjects, instead Sanchez tackles them with gusto giving us pieces like this. She has the ability to pull me in and persuade me to agree with everything written down to the last word. There wasn't just one line in this piece that made me think; it was the entire piece itself, a perfectly summarized fact of what a black man is.
i come from white shadows that hide my indigence
i come from walking streets that are detoured
i come from pushing wagons that do not turn
i come from indifference
i come from uncut cloth that patterns me
i come from vague violets gift-wrapped by slum parked thoughts
i come from hate.
i come from men who assume no responsibility
i come from their wives who claw in the darkness
i come from white spit foaming with militant bubbles
i come from hell.
I can't continue without stating that I feel as though Under a Soprano Sky is presented as quintessential food not only for thought but for the soul; fuel to speed thoughts that give birth to ideas and/or actions.
Sanchez's ability to project simplicity, imagery and fresh word usage literally left me hungry for more.

"Africa Poem No.4," gave insight into the activist/political side of Sanchez that has been prevalent since the late 60's; sending here down a path of promoting the teaching and remembrance of black heritage as well as the troubles happening everyday in the African nation. Once again I'm pulled in by the smooth way she presents her distaste of the U.S. and other nations supporting senseless killings and other atrocities when she says:
Let us send guns to explode indulgencies.
No frontal checks.
Or other subjects like abortion:
i see cities heavy
with abortions.
I tap it and tase
our flow. Sweet. Wasted
tapestry.
The beautiful, cut-to-the-chase manner Sanchez employs in this book and throughout all of her work is a refreshing step away from the more traditional forms of poetry. Her ability to vary correct word usage with forays into black slang is like adding seasoning to an otherwise bland pot of gumbo. The book in general has no specific theme, in that it covers the spectrum from love and hate to joy and pain, as well as personal and political. I recommend this book highly to any person, spontaneous in personality and mindset; any person willing to think `outside of the box.' Under a Soprano Sky is a breathless work of art that fuses down-to-earth truth with airy thoughts and ideas. Reading Sanchez brings to mind a familiar quote I'm often using at the end of my pieces: `Poet a Nasciture, non fit' a poet is born not made.

"Under a Soprano Sky" is indeed food for thought. In this collection, Sanchez speaks on a variety of subjects, ranging from political to personal. She captures her reader with a brilliant display of verbal acrobatics, and uses her linguistic prowess to minister to her audience on (arguably) the most powerful of human emotions - love, anger and fear. There is quite a variety of poetry in this collection, ranging from poems that read like prose, to haiku. The wide variety of subjects and styles contained in "Under a Soprano Sky" showcase Ms. Sanchez's skills quite well. . Of all the Sanchez works that I have read to date, this is by far the most colorful, compelling and comprehensive of them all. So, whether you are have been a fan of Sanchez's for years and are familiar with a number of her works, or you are looking for your first Sanchez reader, "Under a Soprano Sky" is an excellent choice.

"Under a Soprano Sky" is indeed food for thought. In this collection, Sanchez speaks on a variety of subjects, ranging from political to personal. She captures her reader with a brilliant display of verbal acrobatics, and uses her linguistic prowess to minister to her audience on (arguably) the most powerful of human emotions - love, anger and fear. There is quite a variety of poetry in this collection, ranging from poems that read like prose, to haiku. The wide variety of subjects and styles contained in "Under a Soprano Sky" showcase Ms. Sanchez's skills quite well. Of all the Sanchez works that I have read to date, this is by far the most colorful, compelling and comprehensive of them all. So, whether you are have been a fan of Sanchez's for years and are familiar with a number of her works, or you are looking for your first Sanchez reader, "Under a Soprano Sky" is an excellent choice.

This is a very good book. Vertical Ethiopia will engage, entertain, and, in the end, more than satisfy a diverse audience of readers.

It's a fascinating read for climbers. Burhardt and Rogel have produced a well balanced blend of lovely, crisp narrative and excellent climbing photos which draws the reader into the pure adventure of exploratory rock climbing in virgin territory. I climb and as a climber I found the book's treatment of technical climbing topics engrossing.

Yet this is far more than the typical climbing story. Burhardt has constructed an extremely well written tale of travel and cultural discovery, superbly documented by Rogel's dramatic photographs of Ethiopia and the Ethiopians. The genuine commitment of the authors to the people of Ethiopia results in a compelling presentation of the land, its history and its potential. Vertical Ethiopia is not the first book to successfully integrate a tale of adventure with a close look at the cultural context for the adventure. It is, however, an extremely worthy addition to the tradition.

What impressed me most about the book was the degree to which it motivated me to add Ethiopia to my list of must-see destinations, not primarily for the sake of the climbing, although that would certainly add an interesting dimension to the visit, but rather for the opportunity to experience this country first hand.

I found this book to be very informative and interesting. The way the girls climbed and dressed were fascinating. I really admire their tenacity.They picked a very remote part of my world to do this climb. How brave of them!!

An amazing read. Within the context of a first-of its kind travel adventure chronicle, the world of climbing is exposed and made accessible to non-climbers. This book is a wonderfully written story of culture, adventure, history, feeling and sport. It reads like a compelling travel journal and leaves you wanting the author to take another trip so you can live vicariously through her words again on the next journey.

We enjoyed the story within the story of this book. It tells why some huts are round and some are square to this day in a small African village. This story is of men's & women's strengths & differences, the celebration of family and of the tradition of storytelling. The artwork adds to the quality of this book.

This is a wonderful book to share with children. Children need to know that different cultures do things differently. Culture is a big part of people and how they live their lives. This book was awarded a Caldecott Honor in 1987 for the wonderful pastel pictures. I, myself, loved this book and so did my children in the classroom.

The Village of Round and Square Houses, is a story told byalittle girl, Osa, about how the people in her Central African villageof Tos ended up having the men live in square houses and the women in round ones. Osa's story begins with vivid descriptions and pictures of day to day life including their eating rituals in which the men come to eat with the women and children in the round house. Grifalconi uses bright, beautiful colors and illustrations, which help set the happy and peaceful mood. As Osa's grandmother tells her the story of how the great Naka Mountain burst open sending lava, ashes and smoke everywhere, Grifalconi does a good job of depicting the eruption. She contrasts the color orange on black and later shows the village and people all covered with ashes, with only two houses left standing. Since Naka had spared them and these two houses, the men and women split up and have been living this way ever since. The language and descriptions that she uses to tell the story are unique and informative; she keeps the reader wanting to know more. Grifalconi also does a good job of portraying the culture and tradition in the small village. In a note to the reader at the beginning of the book, she states that this village of Tos really does exist but that it is almost entirely isolated which makes its culture unique with different traditions from other African villages. The story, The Village of the Round and Square Houses, tells of the importance of family and the respect given to the elders. For the eldest in this family has the wooden stool to sit on and the next eldest has the grass mat. The children help the women cook, and everyone eats supper taking turns in order, starting with the eldest right down to the youngest child. Osa's grandmother tells the story of how their village ended up the way it is now. All members of the village respect her grandmother, and she is known as the best storyteller in the village. By telling stories she is able to pass on the culture of their village. In their 1988 Children's Literature Association Quarterly article, "Sharon Bell Mathis: Features of a Culture," Darwin L. Henderson and Arlene Harris Mitchell examine Mathis's work. Sharon Bell Mathis's works and Grifalconi's, The Village of Round and Square Houses, are similar because they both deal with celebrating life, children, family, survival, spiritual strength and culture. The oral tradition of story-telling is important to Mathis, and Grifalconi has the grandmother orally pass on the story of Naka. For me, this story by the grandmother is one of the most important things in the book because it gives the reason for having the women live in round houses and the men live in square ones, and it gives insight into part of their culture. This shows that oral tradition and culture are important aspects to both authors when writing children's books. I found this book stimulating to look at and interesting to read. The illustrations are great and add a lot to the story though it was a great story in itself. I definitely want to check out more of Ann Grifalconi's work.

Voices Of Ancient Egypt is an extensively researched picture book that presents simple, moving poems by Kay Winters about the daily lives and jobs that Egyptian people once held, including scribe, marshman, birdnetter, weaver, goldsmith, and more. Flowing illustrations by Barry Moser and historical notes complement this excellent and fascinating National Geographic "window" into ancient times for young folks.

This is a beautiful book and will be a great addition to classrooms and libraries, as well as to homes. Children study Egypt in sixth grade, and this book will add to their knowledge. But it is more than an informative book. It is unique in the way it is written. It is told from the point of view of different workers in Ancient Egypt--not the pharoahs we are used to hearing about, but the every-day people who made the kingdom run. And the voices are poetic and lyrical.
Kay Winters, the author, has written an excellent book and Barry Moser, the illustrator has painted beautiful pictures. The book makes me want to go to Egypt--or at least to give a piece of Egypt to the children I know. It will be a favorite Christmas gift this year.

Gorgeous watercolor illustrations of workers busy at work accompany text in prose style in this non-fiction picture book for children. The writing is eloquent and is a fresh change from the usual content of most history books. Using first-person narrative, the worker tells what their job is like. Some examples of the vocations covered are launderer, scribe, farmer, pyramid-builder, embalmer, and dancer.

There are two pages of background information about the 13 vocations, and a list of source materials at the back that is helpful for locating more resources to use when learning about life in Ancient Egypt.

I can't say enough about the beautiful illustrations by Barry Moser. The cover's illustration is exactly the type of high-quality work that lies inside the book. The background paper for the entire book looks similar to papyrus. A wonderful book! I hope that National Geographic makes this one in a series and that future book have equally high quality writing and illustrations.

This is a treasure. It combines first-rate photography and exemplary scholarship with the splendid production values of a publisher reknowned for sumptuous printing. It is a work that recovers and preserves a rich, scattered and often perishable art. It should inspire young artists to new efforts.

"Walls" reaffirms the power, beauty and humanity of public art-- art in libraries, schools and along neighborhood streets, art readily accessible to people as they go about their daily life. It proclaims the values of their work, their community-involvement and traditions.

"Walls" demonstrates that Afro-Americans have their own independent tradition of mural art that emerged at the same time as but separate from the modern Mexican tradition. Although later it sometimes was influenced by Diego Rivera and his colleagues, it arose during the Harlem Renaissance of the 1920s inspired by African sources.

The creativity of Black murals is also noteworthy for providing continuity between the New Deal murals of the 1930s and the community-based art since the 1960s. When art on social themes was driven from public walls during the witch-hunts of the '50s, Black murals were being painted in Black colleges across the South, and the artists who gained experience here initiated the mural movement of the '60s when Black neighborhoods organized against racism. These Black artists and their untrained community assistants thereby created a movement that professional painters and local people of all races joined which continues to this day.

The horizontal format of "Walls" is especially fortunate in doing justice to paintings that have a like layout. The introductory essays by reknowned African-American art historians, the comments of the artists themselves alongside their works, their biographies at the end and a list of murals throughout the country enhance the value of this volume.

"Walls" is a major resource of US history and art and as strong proof that there is of the contribution of African-Americans to our shared culture.

"Walls of Heritage / Walls of Pride," which I first browsed, then read, reread, and loved, has greatly added to my understanding of the background and context of African-American murals. The essays, the time chart, and the comments by the artists on their own works, in addition to the beauty of the paintings and the presentation, have added to my enthusiasm for and appreciation of this vibrant art form

In the past I have enjoyed visiting sites of public art. I now intend to carry this book with me as I travel, along with my maps and travel books, and when possible visit the murals shown in "Walls" seeing to what extent I believe the artist accomplished his goals.

I urge that you do the same, and you may come to find that your best travel time is spent outdoors viewing painted walls. And sometimes indoor walls and canvasses.

And later the book will be an impressive and useful addition to your library.

This lavish display of Afro-American wall murals gathers three decades of murals by the nation's leading artists, presenting these urban wall paintings under one cover for the first time. Over 200 paintings explore the works, history and themes of Afro-American urban wall paintings and focuses on thirty years of mural art from 1967 to modern times. Outstanding.

this book provides analysis of weak or failed states in Africa, based on thorough on the ground research and solid historical work. i bought it for my phd dissertation into democratization and violence, but its relevant for any comparative politics/historical work on Africa. precisely because its so well grounded in actual politics, it adds to some of the classic and recent theoretical studies on Africa, while remaining accessible to any one trying to understand what is happening.

In the midst of my research on timber Liberia, I was told that the only person who really knew what was going on in West Africa was William Reno, assistant professor at the University of Florida. When I called him to ask for information, he told me about the book that he published just this year. I tracked it down in the library, and was very relieved (after much fruitless searching) to find a readable and informative explanation of the politics of so called "weak states", along with four case studies on West African Nations. Reno's book provided by far the most comprehensive and readable explanation of the modus operendi of this region.

The first two chapters, entitled "The Distinctive Political Logic of Weak States" and "Africa's Weakest States After the Cold War", outline useful background information on the unique political systems in place in sub-saharan Africa. Reno does an excellent job of balancing his political theory with hist! orical examples. The next four chapters, which subsequantly cover Liberia, Sierra Leone, Nigeria and DRC (formerly Zaire), provide detailed analyses of the economic and political situations in these countries. Reno places the factions, the foreign business partners and the conflicting European vs. African interests in a solid context. On Liberia he writes, "The way we think about Liberia is strongly influenced by images of chaos and random violence.... In fact, war in Liberia has followed a clear logic. Warlord pursuit of commerce has been the critical variable in conflicts there. Stongmen have used commerce to consolidate their political power within a coalition of interest among themselves, businesspeople, and local fighters"(p.79).

Reno has combined information gleaned from his travels, dozens of interviews, and unique primary documents to provide a cohesive picture of the West African political system, a challenge of sorts to the conventional World Bank wisdom! that would have all "weak states" conform to its! idea of economic viability. He places in context the confusing behavior of rulers of weak states, with their tendency to avoid bureaucratic efficiency and free market enterprise, to the chagrin of first world observers. Reno writes, "Rulers who face threatening internal behavior intentionally cripple the arms of the state, which weakens the agencies that outsiders prescribe as the best means to mobilize resources to alleviate pressure form the international economy, such as debts, balance-of-payments imbalances, and instruments to enhance state revenues"(p.19). The behavior is necessary, he writes, in order to keep local strongmen in check. The conclusion that he draws from this may cause one to ponder; "The joining of political struggle and accumulation-- even as a violent Kalashnikov lifestyle of protection rackets, forced labor, and fencing of stolen goods-- is as much a candidate for a Weberian capitalist style of life as is a Protestant ethic or a Japane! se way of doing business"(p.30).

Rather than criticising from afar, Reno writes from the vantage of a frist hand observer. His ideas are provocative and well stated, valid for both the ignorant student (myself) and the seasoned researcher.

Drawing upon fieldwork in a number of troubled regions, Reno has produced a compelling and insightful examination of political realities within Africa's war-torn states. A valuable alternative to the more common hand-wringing and finger-pointing of most African political appraisals.

this book is so great to help introduce animals to children! I have already ordered the nect way far away books and cant wait to read them! High Praises!

Way Far Away on a Wild Safari is the third excellent book in Jan Peck's "Way" series. There is a reason these books were plugged on the PBS website. Jan's wonderful verse, and Valeria Petrone's masterful illustrations introduce little ones to reading, African animals, and rhyme. Do your child a favor and buy he/she all three of the titles.

Way Far Away on a Wild Safari is a cute read aloud story that would world well as a transition book for young children just starting out reading. The text is simple; the pictures are colorful and engaging, and just plain fun. Picture one adventurer, complete with pith helmet, one plate of animal crackers and a vivid imagination and you've got yourself a wild safari in the making! The text is just repetitive enough for younger children to be able to catch on and join in as the story goes on and when it's retold to them...because they WILL want it read to them again and again!

The age range listed on the inside flap is 3-6 but I believe that this is one of those books you can start early and read right up until about preschool age (so a range of 0-5) and that it's one that your 4-5 year old will come back to as he or she is learning to read, because it's familiar and fun. Additionally this book is a nice way to introduce African animals to your youngster, each is brightly pictured and even the lion is not scary, so great for young children in every way possible! I give it five stars, your kids will come back to this story time and again.