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 ==== ====How make money With mobile internet Marketinghttp://08974z23d-q71reo6isgiwez9s.hop.clickbank.net/  ==== ====Malian writer, Yambo Ouologuem's most famous novel Bound to Violence first published in 1968satirically portrays Africa before and during colonial subjugation whilst assessing the role of localoverlords who in league with Arab slave dealers, sold their subjects into bondage. After winningthe prestigious French literary prize, Prix Renaudot, Yambo received much media attention, beingwidely reviewed, appearing on T.V. shows and being interviewed and featured in many prominentpublications and with the book being translated into numerous languages. . Despite allegations that it contained materials drawn from other works, Bound to Violence hasbeen widely read and acknowledged as a wonderful book which this writer himself affims makesquite a compulsive as well as a gripping story though with too horrible revelations to make. Born in 1940 in Bandiagary in the Dogon country, in Mali to a ruling class family, Ouologuem, theonly son of a land owner and school inspector, quickly learnt several African languages andgained fluency in French, English and Spanish. After matriculating at a Lycee in Bamako [capitalof Mali] Yambo went to France to continue his education at Lycee de Charenton in Paris and thencontinued his studies for his doctorate in Sociology. Upon returning to his home country in the late70's he was made director of a Youth centre near Mopti in central Mali where he remained until1984. He has led a secluded religious life in the Sahel ever since. This novel, his first and only, has been widely hailed as the first truly African novel. 'It fuseslegend, oral tradition and stunning realism in a vision arising authentically from black roots.' Hedraws on the history and culture of the great medieval empire of Mali in which Nakem was centralin the 13th century, and dominated onwards by the Saif dynasty, whose rule was characterized byruthlessness marked with bloody and tragic adventures. After a brief, violent fresco depictingNakem's past, the story moves into the 20th century with the Saifs still in power. But when theFrench arrive as colonizers, they unwittingly become puppets in their astute hands. But still thesenative rulers continue to dominate by shadowy and occultic means.. Scenes of violence anderoticism, of sorcery and black magic appear as natural parts of human activity there. From thisfrightful and horrific background emerges the book's main protagonist, Raymond SpartacusKassoumi, the son of slaves who was sent to France to be educated and groomed for a politicalpost which could well be the next step to his becoming another puppet to the Saifs. Ouologuem goes on to show how the ancient African emperors, the Moslems, and finally theEuropean colonial administrators were responsible for the black African's 'slave mentality.' Theyproduce'negraille' a word coined by Ouologuem himself to indicate this servility. His skepticismover the potential for liberation through struggle was also pronounced. The first part of the novel compresses the history of the first seven hundred years of the NakemEmpire starting from around the year 1200 A.D. with brutality, violence, oppression and
 
corruption,. Slavery iwas also widespread there with 'a hundred million of the damned ... beingcarried away. This went on along with :' Cannibalism: 'one of the darkest features of that spectralAfrica ...' The Arabs had conquered the land [settling over it 'like ......and the common black] man ... suffersfor it. Religion - Islam -is abused in order to consolidate and keep power. It 'became a means ofaction, a political weapon.' The brief second part captures the coming of the whites at the close of the 19th century. Theempire is 'pacified and divided up by the Europeans, with the French controlling whatever remainsof Nakem. Hope that life will improve is seen as: Saved from slavery, the [negroes] welcomed the white man with joy, hoping he would make themforget the mighty Saif's meticulously organized cruelty. But the exploitation continues unabated as each side uses the blacks to suit their own ends. TheSaif remains influential and powerful even under the French administration whilst the subjugatedcommoners still have little chance of living tolerable lives. Much of the book, contained in the third section titled 'Night of the Giants', is set in the first half ofthe twentieth century where horrific incidents such as the Saif's indiscriminate wielding of whateverpower he has left, lots of ugly violence like the Saif's curious assasination technique throughtrained asps proliferate. Shrobenius adds another dimension to the exploitation. Learning lately about Nakem, he comesthere to buy relics, masks and other cultural artifacts. The Saifs themselves contributed tospreading this exploitation and fraud by making up stories and selling whatever cultural legacy canbe procured. Tons upon tons more are thus donated towards the further spread and intensificationof what became known as 'Shrobeniusology'. This explicitly shows the mechanism by which thenew elite came to invent its traditions through the science of ethnography. Later after Shrobeniushas popularized African art in Europe many others came to purchase pieces. No originals now left,Saif had slapdash copies buried by the hundredweight and then dug out later and sold atexorbitant price. Saif made up stories and the interpreter translated. Madoubi repeated in French, refining on thesubtleties to the delight of Shrobenius, that human crayfish afflicted with a groping mania forresuscitating an African universe - cultural autonomy, he called it, which had lost all livingreality;...he was determined to find metaphysical meaning in everything...African life, he held, waspure art. Then,'...henceforth Negro art was baptized 'aesthetic' and hawked in the imaginaryuniverse of 'vitalizing exchanges.' Then after describing the phantasmic elaboration of some interpretative forgeries by the Saif heannounces that '...Negro art found its patent of nobility in the folklore of merchantileintellectualism..'Thus comes the exposure of the network of fraudsters starting from Shrobeniushimself, the anthropologist, as apologist for 'his' people; that swallows enthusiastically andunquestioningly these exoticized products; African traders and producers of African art, whounderstand the need to maintain the mysteries that render their products as exotic; traditional andcontemporary elites who require a sentimentalized past to authorize their present power. All of
 
them are thus exposed in their complex and multiple mutual complicities. 'Witness the splendor of its art - the true face of Africa in the grandiose empires of the MiddleAges, a society marked by wisdom, beauty, prosperity,order, nonviolence, and humanism, and it'shere that one must seek the true cradle of Egyptian civilization. Ironically, all this earns Shrobenius a two-fold benefit on his return home. He mystified his peoplewell enough to get them to raise him enthusiastically to a lofty Sorbonnical chair. He also exploitedthe sentimentality of the coons, who were only too pleased to hear from the mouth of a white manthat Africa was the womb of the world and the cradle of civilization. The ordinary blacks thus gladlydonated masks and art treasures by the tons to the acolyte of 'Shrobeniusology'. Ouologuem then goes on to precisely articulating the interconnections of Africanist mystificationswith tourism and the production, packaging, and marketing of African art works. An Africanist school harnessed to the vapors of magico religious cosmological, and mythicalsymbolism has thus been born: with the result that for three years men flocked to Nakem-..middlemen, adventurers, apprentices, bankers, politicians, salesmen, conspirators - supposedly'scientists,' but in reality enslaved sentries mounting guard before the Shrobeniusologicalmonument of Negro pseudo symbolism. Already it had become more than difficult to procure old masks, for Shrobenius and themissionaries had had the good fortune to snap them all up. And so Saif - had slapdash copiesburied by the hundredweight or sunk into ponds, lakes, marshes, and mud holes, to be exhumedlater on and sold at exorbitant prices to unsuspecting curio hunters. These three-year-old maskswere said to be charged with the weight of four centuries of civilization. Ouologuem in this way forcefully exposes the connections in the international system of artexchange, the international art world, and the way in which an ideology of disinterested aestheticvalue - the 'baptism' of 'Negro art' as 'aesthetic' meshes with the international commodification ofAfrican expressive culture which requires the manufacture of Otherness . [ Appiah, KwameAnthony] There is Raymond Spartacus Kassoumi, a child of poverty who takes advantage of Frenchschooling and achieves academic success through advanced studies in France. There also heexperiences failure . He discovers the particularly inescapable long reach of Saif. On his returnhome his thoughts of a triumphant return were broken by his discovery that he and his countrywere again being manipulated by the ruling Saif. Some hope however comes from the brief concluding section 'Dawn'. Abbe Henry, the hunchbackpriest obsessed by the tragedy of the Blacks, half-crazed with the christian duty of love is humblybeautiful as the despair of a Christian soul is now a bishop. The last section consists almostentirely of a dialogue between Abbe Henry and Saif, both philosophical discourse and powerstruggle. This Saif appears vanquished, but Ouologuem reminds us: one cannot help recalling that Saif, mourned three million times, is forever reborn to historybeneath the hot ashes of more than thirty African republics, 
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