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What is Africa’s own “heart of darkness”? It is what confronts Ayané when, after three years abroad, she returns to the Central African village of her birth. Now an “outsider” with foreign ways distrusted by her fellow villagers, she must face alone the customs and superstitions that bind this clan of men and women. When invading militia organize a horrific ceremony that they claim will help reunite Africa, Ayané is forced to confront the monstrosity of the act that follows, as well as the responsibility that all the villagers must bear for silently accepting evil done in their name. Through Ayané’s unwilling witness, Léonora Miano probes the themes of submission and responsibility and questions the role of Africans in the suffering of their fellows. Also exploring African identity, Dark Heart of the Night is a profoundly disturbing novel in its evocation of the darkest side of people driven by their instinct to survive.

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Sometime in the early fourth century bc, an unknown Egyptian master carved an exquisite portrait in dark-green stone. The statue that included this remarkably lifelike head of a priest, who was likely a citizen of ancient Memphis, may have been damaged when the Persians conquered Egypt in 343 bc before it was ritually buried in a temple complex dedicated to the worship of the sacred Apis bull. Its adventures were not over, though: after almost two millennia, the head was excavated by August Mariette, a founding figure in French Egyptology, under a permit from the Ottoman Pasha. Returned to France as part of a collection of antiquities assembled for the inimitable Bonaparte prince known as Plon-Plon, it found a home in his faux Pompeian palace. After disappearing again, it resurfaced in the personal collection of Edward Perry Warren, a turn-of-the-twentieth-century American aesthete, who sold it to the Museum of Fine Arts, Boston. Along the way, this compelling and mysterious sculpture, known worldwide as the Boston Green Head, has reflected the West’s evolving understanding of Egyptian art – from initial assertions that it was too refined to be the product of a lesser civilization, to recognition of the sophistication of the culture that produced it.

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Claude Lévi-StraussAnthropology and MythLectures 1951 – 1982Translated by Roy WillisThe published work of Claude Lévi-Strauss over the last three and a half decades has established him as one of the word’s most innovative anthropologists. Yet throughout this period he was maintaining a full teaching commitment in Paris.The pieces in Anthropology and Myth illustrate (in his own word) ‘the effort, the tentative advances and retreats and now and again the achievements of a thought process during some thirty-two years that amount to a large proportion of an individual life and the span of a generation’. Lévi-Strauss used the lecture theatre as a workshop in which to try out and develop new ideas, and many of the familiar themes of his book will be found here: analysis of myth and ritual, totemism, kinship, marriage social stucture. Offering a unique glimpse of the genesis of such subjects throughout his teaching career, this book provides a sketchbook of the themes painted elsewhere in larger, more finished form, and thus forms a document of vital importance for the history of anthropological thought.ContentsTranslator’s NotePreface The Field of Research Mythologics Inquiries into Mythology and Ritual Current Controversies and Social Organization and Kinship Clan, Lineage, House Appendix: Nine Course ReportsChronological TableIndexJacket illustrations: (Front) The Jungle, 1943, by Wifredo Lam, gouache on paper mounted on canvas. 7’10 1/4” x 7’6 1/2” (239.4 x 229.9 cm). Collection, The Museum of Modern Art, New York. Inter-American Fund. © DACS 1986 – Photograph © 1986, The Museum of Modern Art, New York is reproduced by kind permission. (Back) Photograph reproduced by kind permission of the Collège de France and Librairie Plon.

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