African society is evolving along with interpretations of gender and sexuality. While these changes are occurring, African literature and film do not consistently reflect them, because African cultures do not always openly address these issues. Azodo & Eke's Gender and Sexuality in African Literature and Film grapples with the issue of gender and sexuality by attempting to ‘draw attention to the paucity of current state of knowledge of homoeroticism as an integral part of gender studies in African literature and African cinema’ (p. 1). In doing so, this work is an important intervention into the debates on gay rights and same sex marriage.

This volume is well organised and divided into five sections. The first part, ‘Social and historical transformations of gender and sexuality’, delves into the connections between gender, sex and colonialism. This is an important and interesting section, because this is but one of a multitude of areas where the far-reaching effects of colonialism are felt. The authors explore the question of whether homosexuality was encouraged by social and political conditions brought about by colonialism. Part Two, ‘Rumbles of race in gender and sexuality matters’, investigates how race and racism relate to gender and sexuality, including the relationship of race and racism to social and sexual injustice. Part Three is labelled ‘Contestations, protestations, and representations’. It covers a wide range of topics such as ‘performance, corporeal practices, and individual lifestyles, including woman-woman marriage, excision, and incest in father-daughter relationships’ (p. 14). One of the readings points out that gender-based, female, same-sex relationships are ‘part of the fabric of African traditional culture, and as a pragmatic and practical arrangement for solving many types of social problems, including infertility, adoption, need for a male child, and domestic services, among so many others’ (p. 14). Part Four, ‘Social constructions of homosexual, lesbian, bisexual, and transvestite identities’, explores gay male and female bodies and explores the politics of sexual identity and representation. Finally, Part Five, ‘Social constructions of masculine and feminine identities’, explores masculinity, femininity and power, while returning to the topic of racism by observing the impact of racial slurs on the black race.

The authors conclude that homosexuality has always existed, despite shallow or non-existent coverage in African literature and film. It issues a call for further scholarship in this area, stating that ‘one cannot but look ahead towards more profound work on gender and sexuality’ (p. 16). The beauty of this book is that it has larger implications than might be apparent at first glance. While it will prove immensely useful for students and scholars of film and literature, it is also an important piece of the growing body of work creating a broader understanding of sexuality and human rights in Africa, as the free expression of sexuality is an essential human right.