AbstractSince its establishment more than a decade ago, the cultural and political debate on Afropolitanism has been characterized by several different positions. In particular, the Afropolitan opposition to any kind of essentialism (Eze 2014) has been counterweighed by the necessity of a connection to “knowable African communities, nations and traditions” (Gikandi 2011, 9). This debate has been reproducing a typical oscillation of postcolonial theory and criticism between the celebration of hybridity (Bhabha 1994) and the interpretation of postcolonial texts as “national allegories” (Jameson 1986). At the same time, Afropolitanism appears to be related to a more recent phenomenon, which has been defined as “national failure” in political analysis (Zartman 1995; Rotberg 2004) and “failed-state fiction” in literary criticism (Marx 2008). The latter sheds a different light on Afropolitanism, by showing its advantages and its limits both on a national and transnational level. In view of this, Afropolitan literature – including the paradigmatic works by Helon Habila (2002, 2007, 2010) and Chimamanda Ngozi Adichie (2006, 2013) here analyzed – appears to be based on the persistence of “old names,” or categories, in an uneven but fruitful coexistence with the “new” ones (Eze 2016).
