The Epic of Kelefaa Saane is a valuable work for understanding African poetry traditions. It consists of two parts. The first part (preface and acknowledgments, introduction, note of spelling and pronunciation) was written by Sana Camara, associate professor of French at Truman State University and editor of the volume. The second part, The Epic, is the faithful transcription of the performance of Sirifo Camara, recorded in Dakar (Senegal) in 1987 by Boundiaye Jite. This part is presented in its original language, with each page in direct translation to English.

Kelefaa Saane was a legendary warrior prince of Kaabu, a Mandinka kingdom (1650-1867) organized as a confederation of over thirty provinces during the nineteenth century. Kaabu was located in the Senegambian area and emerged one hundred and sixty years after the collapse of the Mali Empire. The rulers were aristocrats who belonged to the Maane and Saane families.

Concise and clear notes on geography (with maps) and history are presented in the introduction, which also presents significant notes about the figure of “The Hero” and about the figures of the griots or bards, who are, as Sana Camara writes, “musicians, historians, advisers, spokespersons, diplomats, interpreters, mediators, and praise singers.” Particular attention is paid to Sirifo Camara (a griot known officially as Chérif Camara). Also discussed in the introduction are the text, the poetic language used, the structure and narrative style, and the great length of the poem.

Sirifo Camara very clearly paints the figure of Kelefaa, the hero. Kelefaa Saane was a warrior motivated by the pure love of combat. He always made his decisions alone, following his strictly personal criteria, even when he had to decide which king he should fight for and regardless of what the outcome of his deeds might be.

The fate of this loyal hero is very bitter, despite the supernatural protection that he enjoyed. A jinn often appears in the life of Kelefaa: a jinn chooses his name three days after his birth; a jinn recommends that he always carry a silver bracelet; a jinn falls in love with him and marries him, even before Kelefaa announces his initiation to the surrounding villages. Later, Kelefaa marries a second jinn; the jinn’s protection makes the hero invulnerable to gun, sword, knife, and magic. But before the last victorious battle, the jinn does not know what Kelefaa’s fate will be.

There are many versions of Kelefaa Saane’s death. One of these versions, referred to by Sirifo Camara, attributes his death to his betrayal by King Demba, who had sought his help. King Demba suggested putting a trap in Kelefaa’s path, so he would be strangled by a rope hanging from a tree. Evidently Kelefaa Saane was buried by the Mandinka people, alone, and not in their main cemetery; his tomb has no sign of identification.

This book is useful to a variety of readers. It offers insights into African literature, linguistics, poetry, folklore, and anthropology. Particularly useful are “Résumé of the Plot” (xxix-xxxii) and the “Annotations to the Mandinka Text” (165-178). This last chapter explains and clarifies the term Mandinka, which may be difficult to understand for many readers. The book is a fine scholarly contribution that will stimulate further scholarship.

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[Review length: 533 words • Review posted on June 30, 2011]