Reviews 259 Elena Brugioni, Orlando Grossegesse and Paulo de Medeiros (eds), A Companion to João Paulo Borges Coelho: Rewriting the (Post)Colonial Remains (Oxford: Peter Lang, 2020). vi + 266 pages. Print and ebook. Reviewed by Hilary Owen (University of Oxford) This collection stands out as the first full-length work in English to bring the works of Borges Coelho to the critical reader in the anglosphere, complementing important article-length studies to date by scholars such as Stefan Helgesson. It presents us with an English translation of a short story by the Mozambican author and historian, João Paulo Borges Coelho, followed by nine chapters covering almost all of his published works of fiction. Offering an extremely rich array of themes and approaches, this volume performs a complex and demanding twofold task with efficacy and style. Firstly, the editors make an irrefutable case for regarding Borges Coelho as the talented, transnationally resonant contemporary writer that he is, reaching far beyond Mozambican literature to the interface of Portuguese-language writing with the global, worldliterature scene. Secondly, the nine authors in this work effectively demonstrate how Borges Coelho’s trajectory as a professional historian, a craftsman of creative fiction and a bearer of twentieth-century (post)colonial memory invites ongoing engagement with the trends that have shaped critical and theoretical thinking on (post)colonialism, poststructuralism, world-literature and world capitalist systems over the last thirty years. While a substantial body of highquality research exists on Borges Coelho in Portuguese, there is markedly less available in English. And in terms of translation into English, his work has been far outflanked by his countryman, Mozambique’s most canonical author, Mia Couto. While comparison with Couto might have been one obvious direction in which to take the current project, it is a definite and notable plus that none of the contributors has yielded to this temptation. Borges Coelho is rightly allowed to speak here entirely and brilliantly as his own man. His work is, like Couto’s, highly sensitive to the construction of Africa’s archives through the optic of a European language worldview, and this sensitivity is omnipresent in his work. However, while this affords Couto a rich vein of spontaneous poetic invention through hybridizations of African oral culture and Portuguese scripted sign, Borges Coelho is far less inclined to privilege Portuguese language as national metonym in the transcultural contact zone. The prose style which results is refreshingly readable and highly accessible, without sacrifice of self-reflexivity, political sophistication or ethical rigour. The Introduction to the volume provides a valuable overview not only, as is customary, of the individual chapters but also of the full literary oeuvre of Borges Coelho. This helps to situate what follows and the short plot summaries offer a useful diachronic mapping of the author’s evolving direction. This is followed by a beautiful new English translation by David Brookshaw of Borges Coelho’s short story ‘O pano encantado’. Aside from the obvious delight of having this Reviews 260 inclusion from a master translator of African literature in Portuguese, this serves as an unambiguous endorsement of the fact that we need to see more of Borges Coelho’s work in English, a point to which I will return. Chapter 2, by Paolo Israel, takes the unconventional but useful step of focusing on Borges Coelho’s professional career as a historian in the highly politicized context of knowledge production in Marxist-Leninist Mozambique, starting with his time working for TBARN (Centro de Estudos de Técnicas Básicas para o Aproveitamento dos Recursos Naturais) under the aegis of Aquino de Bragança’s famous Centro de Estudos Africanos (CEA) Universidade Eduardo Mondlane. Covering the late 1970s through to the 1990s, this chapter includes a fascinating foray into Borges Coelho’s early experiments with comic strips and ‘graphic novels’. Israel also makes us very aware of the subsequent difficulties which beset preservation, access and retrieval in respect of the material archive, encouraging us to view Borges Coelho’s decision to write postmodern historiographic metafiction in terms of a largely pragmatic choice, driven by his frustration with the archive’s obstructions and limitations. Finally, Israel’s chapter neatly establishes the possibility of...
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