It was in Istanbul, shortly after the anti-Greek riots of 1955, that some of us, who had met there to attend the Congress of Byzantine Studies, or some other conference, fell to talking about Rome, the Roman record, the Roman civilization. There, among the melon-carts and the Cadillacs, we thought of the darker side of Roman rule—the lack of intellectual curiosity, the indifference to technological advance, the blight of rhetoric, the cruelty, the vulgarity, and everything summed up by Haverfield as ‘the heavy inevitable atmosphere of the Roman material civilization’. And, having said all that, we began to reflect that this was perhaps a partial and an unworthy view of a people who, to mention nothing else, had preserved for our world the Greek heritage. There we were in Istanbul, Constantinople, the New Rome created by the Old Rome to be a world capital, the city which had preserved its Graeco-Roman traditions through the thousand years that separate antiquity from the modern world, and at the last had handed them back to the West and so made possible the new birth of art and science and literature.
Narrative Realism at the Interplay of Traditionality and Modernity in Ousmane Sembene’s God’s Bits of Woods and Ngugi wa Thiong’o’s The River Between
