The Black African Francophone literature is literature realistic from the outset. Initially, between 1920 and 1960, it was a more or less faithful reproduction of the abuses of European settlement in the continent, traditions and lifestyles of people caught between two cultures, Western and traditional African technician. In a second phase, from 1960 to 1990, this literature traces the bloody realities of dictatorships, highlights the various changes in the continent after independence and conflict of generations, etc.. These two stages of the African Francophone literature realistic south of the Sahara have been marked by contributing capital works to develop knowledge about the realities of the continent.
In the early twentieth century, René Maran, an official of the French colonial administration, took up the cause of the colonized to this literature by giving one of his realistic works, Batouala1, reproducing the colonial system of abuse faced by natives. Indeed, the author has chosen for the first time, to give voice to residents of a small village of Ubangi Shari, Central African present to express their truths about the colonial exploitation what they were confronted daily. The novel makes the reader to discover the joys and tears of the inhabitants of this region of Africa in engagement with the colonial system. First harbinger of the Negritude movement, Batoul interest to both its content and the company that lies behind the questioning of the colonial system. It does not even explain task: it finds.
Following the same realist tradition, "the Senegalese soldier," Bakary Diallo, with his Forced Bonté2, traces the life of the author, who mobilized during the First World War, her book readers adventures. Teenage Bakary Diallo therefore involved in several military operations in North Africa (Morocco) before joining the French army into battle against the Germans. Wounded, he spent several months in hospitals in France, before returning to Senegal. In realistic terms, this text is rich in information. It is a simple text, written without stylistic acrobatics characteristic of Francophone African novelists of the first generation, but which gives a clear idea on what appears to be the positive contribution of France in Africa, hence the title of the novel force -Goodness. In the same realist tradition is Karim noted Socé Ousmane Diop and Paul Doguicimi3 Hazoumé. If the second opens the way for historical novels, the first, it offers a model for future African francophone novels of manners urban.
In the same vein as these two novels, note Chaka (1925) Thomas Mofolo Seidou Malian novelist and Badian (1961). Both authors were inspired, at the time of filing their text, the real story of the founder of the Zulu empire, Shaka. Modeled on the historical novel, these two texts have taken over the historical account of this warrior Zulu of Southern Africa from the mid-nineteenth century. The peculiarity of these works is to have succeeded in giving readers a more or less complete information on the actions of the emperor. Mofolo and Badian, before writing their text, and in order to remain faithful to the facts narrated, have shown, made investigations on the life of the character of Shaka. Their texts are part of what makes "the construction of the meaning of history as memory civilisations.4 These texts present a historically recognized character, whose" features have become almost clichés in the minds of lecteur.5 "Chaka Mofolo, for example," proceeds of this technique, as its primary value is to teach the reader everything about the civilizations of southern Africa in the nineteenth and twentieth century siècle.6 "Similarly, the novel's eponymous Seidou Badian proceeds in the same way. The aim of the author being to contribute to the development of knowledge about this great African emperor. Badian and Mofolo fall well within the realist tradition that Balzac or Stendhal that.
As these two texts, under the same, we should point out works by novelist Senegalese Ousmane Sembene, including Wood's Bits of God (1960). In this text, the author features two conflicting visions of the world in Marxist terms: on one hand, bosses, and other colonizers, the colonized. This novel is a highlight in the social commitment of its author, who is part of the French naturalist and realist tradition of the nineteenth century. Ousmane Sembene is in this sense is an eyewitness to the injustices that people, especially the workers of the railway Dakar-Niger, were confrontése. Sembene, in fact,
"Social engagement takes all its breadth and its height in the God's Bits of Wood, whose main theme is the strike employment of construction of railway Dakar-Niger. From this historic event which took place from October 10, 1947 March 19, 1948, the narrator tells the story navigates between pure fiction and historical fact. The story is about the inhumane conditions reserved for black workers on the Dakar - Niger and castigates the arrogance of the bosses. Two opposing worlds are camped side by side. The workers are victims and oppressors of the bosses, as well as religious leaders or those who believe in Dieu.7 "
This novel is a story where fiction and reality mingle. The author informs the reader both the realities of colonialism and the abuses to which it leads. Bits of wood of God is in this sense a work commitment, which revolted against the treatment of African people in general, and Senegal-Sudan in particular.
In the same vein, we note obligé8 Allah is not and when we refuse they say non9 Ivorian novelist Ahmadou Kourouma. In both fiction texts, the author provides information on armed conflicts and bloodshed in Liberia, Siera Leone and Cote d'Ivoire. In the first novel Ahmadou Kourouma evokes the adventures of a child soldier, Ibrahim who, having been enlisted and fought with warlords, decides to go in search of his aunt that he lost sight of otherwise lost or killed somewhere in Siera Leone and Liberia. Second, it constitutes a logical continuation of the first. Indeed, it tells the story of the same character, Ibrahima in this case, and her aunt, fleeing the hostilities of the civil war in southern Côte d'Ivoire, go to the north. These two novels, realistic terms, are a genuine information about the realities of armed conflict in that region of Africa where rebels and government forces engaged thank you without a fight. Ahmadou Kourouma, the same way that Emile Zola inspired by real facts, inquires, does research before writing his lyrics.
As Kourouma, the works of novelist Congolese Sony Labou Tansi, including Life and a half, are a source of information about the realities of Africa. This author, with a style and ridiculous dream, tells the story of the bloody dictatorships which Africa is confronted after independence. By recourse to fantasy in describing his characters, Sony Labou Tansi was able to give the reader an idea of the chaotic situation generated by the introduction of lawless regimes across Africa. The African
realistic novel "now seemed the best vehicle for literary expression of the world black 10" and its social, economic and political. Just as the writers of the first generation in 1930, works published between 1980 and 1990 are therefore a source of information on the problems the continent faces. For example, with the texts of most romantic novelists Guinean Camara Laye as with Dramouss (1966) of Alioun Fantouré with his novel The Circle of the tropics (1972) and William Sassine with Wirriyamu (1976), there is a real development process of the bloody dictatorship of Ahmed Sekou Toure of Guinea who led an iron hand for decades .
Other novelists "came to support the vision Guinea to various degrees. [The] speech distortion between the leader and his movement towards autocracy, a gun in his hand a poem in the pocket (1973) Emmanuel Dongola reporting them during the war in Angola [...]; while Valentin Y. Mudimbe led his hero in the civil war rampant in Congo-Zaire: Between the two waters (1973) [...] was his first novel, its author and ranked first place among the young novelists. Bel filthy (1976), his second book, offered a disturbing picture of political morality in force and augur the worst dérives11 "
These texts fall into the same tradition as realistic and naturalistic as the works of Flaubert, Stendhal and Zola. Their main goal is to give the reader see the social and political nightmare terrors lined bloodthirsty "angel guides", as the term of Sony Labou Tams. Across the continent, south and north of the Sahara, after independence, people found themselves trapped elites working for themselves instead of worrying about the real needs of their citizens. The Francophone African novel is thus a reflection of this betrayal of the ruling class. Aware of this historical-political situation did not bode promising both for the continent and for its inhabitants, novelists, from Guinea to Congo to Senegal and Cameroon, had quickly made up their pen to denounce the "excesses of Aboriginal politicians, the absurdities and contradictions of the new bourgeoisie, the disappointments and difficulties of the masses whose situation empirait.12 "every day.
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