By Abu Bakr Khaal
Title note: unique title
African Titanics is the untold story of the African boat humans and their determined exodus to the cruel beaches of the Mediterranean. the unconventional is one in every of fleeting but profound friendships, perseverance born of melancholy and the ability of news to beat the problems of the current. Alternating among fast moving motion and meditative mirrored image, the unconventional follows the adventures of Eritrean migrant Abdar. As he trips north, the narrative mirrors the rhythm of his travels, at one second rushing clear of bandits within the Sahara and on the subsequent patiently looking ahead to information of a relaxed sea, protecting a continuing pressure among existence and demise, desire and despair.
Connecting today’s migrants with mythical adventurers of the prior, Eritrean author
Abu Bakar Khaal areas the phenomenon of migration in a vast point of view. The “bug” which grips the hearts and minds of younger Africans is only one of many levels which Africa has traversed in its lengthy heritage from man’s first cradle. With moments of comedy interspersing the cruel fact of migration, African Titanics presents an intimate tackle a phenomenon so frequently within the information.
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Extra resources for African Titanics
Disregarding this, what Bluebeard forbids his wife must be some kind of sexual knowledge or act, shown symbolically; what it is has 35 See an article by Yvonne Verdier, often reproduced or summarized: ‘Grandsmères, si vous saviez: Le Petit Chaperon rouge dans la tradition orale’, Cahiers de la littérature orale, 4 (1978); and Appendix A on Red Riding-Hood below. 36 Beast to Blonde, 244–6. Some of the comments she records make a connection with the sin of Eve, desire for sexual knowledge; but Eve was a virgin, unlike— presumably—Bluebeard’s wife.
The clearest cases are Sleeping Beauty and Red Riding-Hood, from which episodes known in other versions, such as the Prince’s violation of the unconscious girl and the wolf ’s treatment of the grandmother’s corpse, are absent; if Perrault knew them, as seems probable, he must have decided against them on the grounds that they would be found offensive, and made the necessary alterations. The result of all this is that the tales in prose, at least—the position is different with those in verse—became suited to the middle-class introduction xxxvii sensibilities of his time.
It becomes necessary to hide the offspring from the motherin-law, who behaves (leaving her ogreish propensities aside) like any other mother who suspects that her son is having an illicit affair. The story’s subject, then, has changed, and now concerns the notoriously difﬁcult relationship between a man’s wife and his mother—perhaps not a topic that might be expected in a fairy-tale. We can reconstruct the reasons for it by comparing Perrault’s tale with Basile’s earlier version. Here, the Prince who ﬁnds the sleeping Talia is already married, and takes advantage of her unconscious state to father twins on her; in due course, the jealous wife ﬁnds out, and seeks a dreadful revenge, exactly like Beauty’s mother-in-law.
African Titanics by Abu Bakr Khaal