An Afrocentric approach became my first thought to the question of what critical literary approach could be best to analyse Sierra Leonean literature, but I think that the analysis of Sierra Leonean literature necessitates a critical approach that integrates local cultural, historical, and societal contexts while acknowledging the broader influences of Western literary frameworks. Key considerations include postcolonial criticism, which examines how colonialism, resistance, identity, and cultural preservation are represented in the works, and an Afrocentric literary critique, which emphasizes African-centered perspectives and values without subsuming them under Western norms. Historical and sociological approaches provide a rich backdrop for Sierra Leonean literature, focusing on historical reflection and social critique. Oral storytelling traditions, such as proverbs, myths, and folktales, heavily influence Sierra Leonean literature, with focus areas on adaptation and preservation, performance, and community. Comparative frameworks are also relevant, as many writers grapple with reconciling indigenous experiences with Western literary forms, often creating hybrid texts. To address challenges posed by reliance on Western literary norms, scholars and critics should develop local literary theories, engage with writers and cultural custodians, and bridge frameworks. By doing so, they can create more representative theories, understand the intentions and cultural grounding of authors, and fully capture the essence of Sierra Leonean literature. This blended approach not only honors Sierra Leone's unique literary identity but also situates it within global literary discourse.

Why should a country's literature be a genre? That is the mistake Africans make, and it is the way European publishers have boxed African literature into a narrow box. Sierra Leonians can also write the genres of romance, mystery, espionage, fantasy, etc. African authors have to be competitive to European authors in complexity, style, and genres, rather than in the country they come from - which is marked by how much code-switching An African story must have. It is a very reductive pholosophy.

You write, "Oral storytelling traditions, such as proverbs, myths, and folktales, heavily influence Sierra Leonean literature, with focus areas on adaptation and preservation, performance, and community." My take is: Every country in the world started with an oral traditon, proverbs, myths, and folktales. Western publishers and readers have boxed African authors with these themes. It is time to break out of them, or embed them in complex genre of romance, espionage and policing in a pre-colonial setting. Currently, African authors dance to western tunes, making the world believe that pre-colonialism, Africa was this one serene, lullaby-singing community. On the contrary, we (Africans) had people and groups that deviated from the norm (e.g. gangs, prostitition, pimping, insurance companies in the form of tribal associations, murder, investigation, etc.). So far, African authors have not incprporated these in traditional plots. However, any exceptionally creative African author who is good at English can easily do this. So, what are we waiting for?

You said, "Comparative frameworks are also relevant, as many writers grapple with reconciling indigenous experiences with Western literary forms, often creating hybrid texts." My reaction is: You are correct. Novel writing, as a whole, is a Westtern literary form. Although many African tribes wrote in the past in their own scripting systems, stories were not written, let alone novels. Long texts were not written. That is why we passed down our traditions orally. The hybrid texts that African authors create are due to, as you rightly state, African writers grappling with Western forms. I go further by saying it is because they are ashamed of studying and using English properly, based on Achebe's groundless claims that the kind of English Africans should use must be a transformed one (African proverbs, code-switching, African syntax, etc.) For African novelists to not produce "hybrid texts," they should use English fully. Even African proverbs have equivalents in English. Most of the time, the English version can be said and then mention its equivalent in the tribe. Moreover, every author should be creative in finding another way of expressingthe indigenous culture and language, rather than use the same style our pioneers used.

You wrote, ". . .challenges posed by reliance on Western literary norms, scholars and critics should develop local literary theories, engage with writers and cultural custodians, and bridge frameworks." Western literary criticism is a well-developed subject, and can be used to analyse African texts. I do not think we need new theories. Instead, we need authors who write to create an exciting, enjoyable story, rather than primarily play the role of a historian or anthropologist.

Africans need to support emerging authors, and must read and analyse their work, even their narratives goes against the norm. That is how literature develops. Instead, African literary analysts have stuck to the same authors and praise their flaws for too long, as if Africa couldn't do better.

The good news is that Africans now write mystery, many of wich you can find in the following contest: https://www.goodreads.com/list/show/42519.Best_African_Thriller_or_Suspense

Also, your papers can gain more readership in my philosophical blog on Medium. If I do an unsolicited review of one of your papers, will you share it and stir some discussion on Medium? Which of your papers do you prefer? My blog can be found here: https://medium.com/@stefan.moel.reader

Follow me on Medium.

No critical approach to Sierra Leon's literatures in English has been published in a form of a book since 1997. And critical literary approaches to Sierra Leon's literatures in English must be published regularly to enable students and scholars to determine where contemporary thematic preoccupants, the objective conditions under which they are produced and characteristics worldviews that they articulate.

Critical appraisals here will specifically objectivefy Sierra Leonean literatures, foregrounding their historical, socio -economic and political environments.

In Africa and it's global diaspora's literary production is inevitably involved in the expression of the continent's historical contradictions, and it's diverse literatures and histories so intensively cross-fertilise.

Moreover, the continent's literature is in massive competition with a number of ancient and medieval systems of expressive culture. None of these factors will be widely or deeply known to readers possessed of a non-African tertiary education. This makes the explicating critical. Appraisal of African written texts imperative as a matter of terminus post quem et quem, or earliest and latest stakeholders.

You say "No critical approach to Sierra Leon's literatures in English has been published in a form of a book since 1997." My thing is: I can see that is is your passion, which is good. But how much effort and investment have African researchers made to foster critique of Sierra Leon's literatures in English? Have you contacted authors in Nigeria and South Africa to donate to your cause? Please name your favourite Sierra Leonian novels, primarily written in English, that you are interested for students to work in. I will do an unsolicited review on my Medium blog, and we can get something from there and get some interested donors. I am a more pro-active person, rather than just using words. Action must follow words.

When you respond here, please pasted the line you are aguing, just like I did. Otherwise, the subject is just gonna fly in all directions.

I already sent you my Medium link, and the ball is now in your court.