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During the period of decolonisation in Africa, the CIA covertly subsidised a number of African authors, editors and publishers as part of its anti-communist propaganda strategy. Managed by two front organisations, the Congress of Cultural Freedom and the Farfield Foundation, its Africa programme stretched across the continent. This Element unravels the hidden networks and associations underpinning African literary publishing in the 1960s; it evaluates the success of the CIA in secretly infiltrating and influencing African literary magazines and publishing firms, and examines the extent to which new circuits of cultural and literary power emerged. Based on new archival evidence relating to the Transcription Centre, The Classic and The New African, it includes case studies of Wole Soyinka, Nat Nakasa and Bessie Head, which assess how the authors' careers were affected by these transnational networks and also reveal how they challenged, subverted, and resisted external influence and control.
Printers and publishers had a wide range of forms in which they could issue literature. Single sheets, pamphlets and hard-bound books could all be vehicles for literature, but then so another material form that became progressively more important, both culturally and economically, as the period progressed: the periodical. The law in the form of copyright had its material impact on literary publishing. The nature and range of literature that was available cheaply was determined by copyright and the monopoly control. The magazine market continued to be important, and in the period after 1880 there was a growing variety of outlets for serial fiction. Mathews and Lane exploited the demand for limited editions and the late Victorian revival of typography, fine paper and bookbinding. Richard Altick identifies the appearance of the Aldine Edition of the British Poets in 1830 as 'the beginning of the era when publishers developed cheap classic libraries as an integral, not merely incidental, part of their lists'.
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