Synopsis This critical anthology brings together Soyinka scholars from across the globe to throw new light on major issues and concerns in Soyinka studies. These include Soyinka’s embeddedness in autochthonous metaphysics and his ritual theory of drama in Yoruba myth, the relation between post-colonial theory and embodied practice, a critique of the ‘culturalist’ argument in Soyinka’s works, his representations of gender, and his use of postmodernist play. The essays employ a wide range of theoretical and methodological perspectives to trace Soyinka’s fascinating journey from Oqunian metaphysics to proletarian engagement and through it the celebration and limitations of the national masculine tradition in Africa.