This paper examines the diptych I--- Mazanza , Tomes 1 and 2 (hereafter IM1 and IM2 ), a previously understudied work of Francophone Central African fiction. Through a comparative narratological and postcolonial lens, I argue that the fracture between the two volumes mirrors the protagonist’s splintered identity caught between oral tradition and colonial modernity. Tome 1 employs a cyclical, communal narrative voice, while Tome 2 shifts to a fragmented, introspective journal form. The missing initial of the title (“I---”) functions as a deliberate lacuna, representing the unspeakable or unwritten aspects of post-independence memory. This paper contributes to scholarship on African diptychs by demonstrating how paratextual and structural gaps produce meaning.
[Your Name / Pseudonym] Journal: Journal of Contemporary Central African Letters Volume: 14, Issue 2, pp. 45–67 Year: 2026 i--- Mazanza Tome 1 Et Tome 2
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The authors explicitly warn that the book contains "highly mystical secrets" and should not be used for "play" or to cause intentional harm to others. Availability and Editions The work is available through several major retailers: The missing initial of the title (“I---”) functions