Ever since the nineteenth-century the imperial romance has been understood, on some level, not merely as a self-evident genre of adventure capable of producing an aesthetic experience but as a political construction of ideological identifications and exclusions. There is a serious dearth of critical work on late-imperial writers of popular romances written about the Anglo-African colonies and the regions beyond their imperial frontiers. A growing interest in Africa now means that even the Anglo-imperialist using the voices of the original inhabitants to write about Africa is no longer a forgettable novelist from an insignificant corner of the globe. The strategic move in Colonial Voices is to re-evaluate “voice” in terms of “landscape,” in which natural space and cultural space are interdefining, though radically different for indigenous and capitalistic societies. Thus when economic globalization invaded diverse indigenous habitats, it redefined the land as a capitalistic resource. Tribes were progressively displaced from their traditional physical homelands which served as the framework for their cultural voices–for myths, songs, ceremonies, visions. A magnificent scholarly study