Abstract
Abstract: For both writers and scholars of African and diaspora literature, genre is a fraught concept. Western institutions, especially departments of English literature, have used the tool of genre to discipline Africana literatures and the people who create them, at once reducing conventional realism to a source of anthropological information and mischaracterizing realism with an indigenous or Nonwestern worldview as fantasy or "Magical Realism." "West African spiritual surrealism," as defined in this essay, offers a generic rubric that both attends to the literalization of Igbo and Yoruba cosmology in fiction as well as the ways these cosmologies can give rise to literary devices that resist hegemonic, Anglo-American centric literary interpretation. Through close readings of Helen Oyeyemi's The Icarus Girl (2005) and Akwaeke Emezi's Freshwater (2018), this article historicizes West African spiritual surrealism as a geographically and ideologically diasporic genre that cannot be properly understood through frameworks of globalization alone. This genre and its writers require critics to read both deeply and widely in order to understand how West African spiritual surrealism places African cosmologies and people always already at the center of literary production.
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