The production, mediation and critical reception of Modem African Literature wasrnbound with the Eurocentric framework until the emergence of the post-colonial theoryrnwhich fully crystallized in the 1980s. Since the appearance of The Empire Writes Backrn(1989) which ushered in a typological revision of critical theory, however, dogmaticrnuniversalism has been subverted in a bid for paradigm shift from a monolithic criticalrntheory to polyphonic canons.rnAll the more, the Orientalists' defiance of the Eurocentric standard of literatures hasrntriggered introspective indigenous authors to reclaim their history, language andrnculture. Bearing such assumption in mind, this study was designed to determine tnernpost-colonial trajectories as reflected in mainstream Anglophone African novelrn(ca. 1970 -2000).rnStructurally, the study is organized into four parts and eight chapters. In the Preliminaryrnchapters (1-3), an attempt has been made to shed light on the matrices of and the majorrnissues in the study of Modem African Literature together with the theoreticalrnframework. The Second Part, where the bulk of the work is concentrated, deals with arncontrapuntal reading of selected East, West and southern African post-colonial novelsrnin that order under three independent chapters (4-6).rnThe post-colonial obsessions such as tyranny, exile, resistance and representation,rnendemic xenophobia, underdevelopment, economic dependency, rampant corruptionrndominance of patriarchal ideology, ordeals of the intellectual and sycophancy of thernclergy have been captured vividly in the novels cited.rnThese malpractices are coupled with other variations of oppression like the race-classrnmetamorphosis, militarism, political atrophy and neo-colonialist patronage prevalent inrnthe referent countries. The contemporary works reflect the spirit of the generation ofrn'angry young men' who are critical of the status quo and determined to put the recordrnstraight as aggressively as possible.rnThe perpetuation of such an anomalous phenomenon is primarily attributed to internalrncolonization, the ineptitude of African demagogues and mass/intellectual resignationrnrather than British colonialism per se. In spite of the gloom, however, the cosmic visionrnof these novelists is one of optimism that heralds the probability of a conditionalrnchange for the better, however, late.rnThe Third Part (Chapter Seven) dwells upon a comparative analysis of these novelsrnwith a view to determining their thematic convergence and stylistic parallelism whichrntraverse nations and regions across mainstream Anglophone Africa. The comparativernapproach, thus, reveals that all the novels in question except Disgrace (1999) invariablyrnpartake thematic and stylistic intertextuality as an expression of political resistance andrncultural renaissance.rnWhile the subject matter of Anglophone African Literature has commanded unanimity,rnthe question of decolorising its medium of expression still engenders emotive debatesrnbetween the adherents of appropriation and abrogation of English. After all, therndominance of English-some times described chauvinistically as-The Chosen TongueMoorern(1969), has already impacted upon the African cultural productions.rnConsequently Anglophone African novelists who grapple with the language politicsrnhave ventured to decenter RS-EngJish in favor of 'english' which involves editorialrnintrusions and deviations from the normative usage. Thus, one of the most outstandingrnachievements of the Post-colonial dialogue with or an act of writing back to thernImperial Center (Britain) is the empowerment of an alternative textual strategy withoutrnrecourse to the traditional prescriptive rules.rnThe Fourth Part, which draws upon its antecedents and recapitulates the findings of thernstudy, is followed by its implications for post-colonial African writers, curriculumrndesigners and Eurocentric literary critics. The major implications underpin thernmaintenance of Aristotle's "Golden Mean" and avoidance of extremes, which isrnbelieved to be compatible with the age ofmulti-culturalism and globalisation.rnThus, the third generation of Anglophone African novelists (ca. 1970 - 2000) hasrnevolved an eclectic approach to the criticism of Modern African Literature in order tornaccommodate its peculiarities such as thematic 'parochialism' and cultural hybridityrndue to the accidents of history