This collection of essays examines Soyinka's post-Nobel works against the backdrop of his earlier works, especially the so-called conservative and impossible plays of early Soyinka'. The contributors are concerned with the political tenor and temperament of the post-Nobel years and the strong presence of the symbolism of Ogun, the creative energy of Soyinka's Yoruba cosmology, during those years. These essays celebrate the achievements of Soyinka by acknowledging his Ogunian characters, who are the vehicles and victims of a political world.'