A Library Journal Best Book Nega Mezlekia's memoir Notes from the Hyena's Belly was described in the New York Times Book Review as "the most riveting book about Ethiopia since Ryszard Kapuscinski's literary allegory The Emperor and the most distinguished African literary memoir since Soyinka's Aké appeared 20 years ago." Mezlekia now offers a first novel steeped in African folklore and teeming with the class, ethnic and religious struggles of pre-colonial Africa. In The God Who Begat a Jackal, the 17th-century feudal system, vassal uprisings, religious mythology, and the Crusades are intertwined with the love between Aster, the daughter of a feudal lord, and Gudu, the court jester and family slave. Aster and Gudu's relationship is the ultimate taboo, but supernatural elements presage a destiny more powerful than the rule of man. With Mezlekia's enchanting storytelling and ironic humor, readers glimpse African deities that have long since weathered away and the social cleavages that have endured through time.

From the author of the hugely acclaimed memoir Notes from the Hyena's Belly comes a first novel steeped in African folklore and teeming with the class, ethnic, and religious struggles of pre-colonial Africa. Set in eighteenth-century Abyssinia, Mezlekia's novel beautifully intertwines vassal uprisings and the Crusades with the intense love between Aster, the daughter of a feudal lord, and Gudu, the court jester and family slave.

In this acclaimed memoir, Mezlekia recalls his boyhood in the arid city of Jijiga, Ethiopia, and his journey to manhood during the 1970s and 1980s. He traces his personal evolution from child to soldier--forced at the age of eighteen to join a guerrilla army. And he describes the hardships that consumed Ethiopia after the fall of Emperor Haile Selassie and the rise to power of the communist junta, in whose terror thousands of Ethiopians died. Part autobiography and part social history, Notes from the Hyena's Belly offers an unforgettable portrait of Ethiopia, and of Africa, during the defining and turbulent years of the last century.

Your students and users will find biographical information on approximately 300 modern writers in this volume of Contemporary Authors(R).

Fantasy is a genre in motion, gradually expanding its reach and historical sources to embrace a global identity Historical Dictionary of Fantasy Literature, Second Edition is a snapshot of the genre in this moment, identifying new themes and sources that are emerging to inspire, enhance and invigorate the published works of fantasy writers.

Autobiographical impostures, once they come to light, appear to us as outrageous, scandalous. They confuse lived and textual identity (the person in the world and the character in the text) and call into question what we believe, what we doubt, and how we receive information. In the process, they tell us a lot about cultural norms and anxieties. Burdens of Proof: Faith, Doubt, and Identity in Autobiography examines a broad range of impostures in the United States, Canada, and Europe, and asks about each one: Why this particular imposture? Why here and now? Susanna Egan’s historical survey of texts from early Christendom to the nineteenth century provides an understanding of the author in relation to the text and shows how plagiarism and other false claims have not always been regarded as the frauds we consider them today. She then explores the role of the media in the creation of much contemporary imposture, examining in particular the cases of Jumana Hanna, Norma Khouri, and James Frey. The book also addresses ethnic imposture, deliberate fictions, plagiarism, and ghostwriting, all of which raise moral, legal, historical, and cultural issues. Egan concludes the volume with an examination of how historiography and law failed to support the identities of European Jews during World War II, creating sufficient instability in Jewish identity and doubt about Jewish wartime experience that the impostor could step in. This textual erasure of the Jews of Europe and the refashioning of their experiences in fraudulent texts are examples of imposture as an outcrop of extreme identity crisis. The first to examine these issues in North America and Europe, Burdens of Proof will be of interest to scholars of life writing and cultural studies.

Once upon a time all literature was fantasy, set in a mythical past when magic existed, animals talked, and the gods took an active hand in earthly affairs. As the mythical past was displaced in Western estimation by the historical past and novelists became increasingly preoccupied with the present, fantasy was temporarily marginalized until the late 20th century, when it enjoyed a spectacular resurgence in every stratum of the literary marketplace. Stableford provides an invaluable guide to this sequence of events and to the current state of the field. The chronology tracks the evolution of fantasy from the origins of literature to the 21st century. The introduction explains the nature of the impulses creating and shaping fantasy literature, the problems of its definition and the reasons for its changing historical fortunes. The dictionary includes cross-referenced entries on more than 700 authors, ranging across the entire historical spectrum, while more than 200 other entries describe the fantasy subgenres, key images in fantasy literature, technical terms used in fantasy criticism, and the intimately convoluted relationship between literary fantasies, scholarly fantasies, and lifestyle fantasies. The book concludes with an extensive bibliography that ranges from general textbooks and specialized accounts of the history and scholarship of fantasy literature, through bibliographies and accounts of the fantasy literature of different nations, to individual author studies and useful websites.