Recently, literary critics have grown concerned that serious literary criticism is slowly being replaced by a literary culture of endorsement that has proliferated online. They fear that ‘hot takes,’ listicles and simplified systems of ranking books (‘buy or don’t buy,’ star ratings and so on) are gaining cultural currency while serious analysis and critique is going out of style. One critic, Christian Lorentzen, even wonders: ‘What if a generation of writers grew up with nobody to criticize them?’ At the same time, reviews, interviews and other content concerning African literature have become widely available online. In particular, African literary podcasts have become increasingly popular and influential. By examining the nature of paratextuality, via Gérard Genette, in reference to African literary podcasts, this article examines whether African literary podcasts are contributing to this decline, offering audio equivalents of traditional reviews or creating an innovative mode of critique. It concludes that African literary podcasts are sui generis and provide both substantive critique and an outlet for voices traditionally marginalized from mainstream literary discourse.

中文翻译：

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有声读物：非洲文学播客的副文本性

最近，文学评论家越来越担心，严肃的文学批评正慢慢被在线传播的文学认可文化所取代。他们担心“热门话题”、列表和简化的图书排名系统（“买或不买”、星级评定等）正在获得文化传播，而严肃的分析和批评却过时了。一位评论家克里斯蒂安·洛伦岑 (Christian Lorentzen) 甚至想知道：“如果一代作家长大后没有人批评他们会怎样？” 与此同时，有关非洲文学的评论、采访等内容也已在网上广泛传播。尤其是非洲文学播客变得越来越流行和影响力。通过研究副文本性的本质，通过 Gérard Genette，参考非洲文学播客，本文探讨了非洲文学播客是否导致了这种下降，提供了与传统评论等效的音频，还是创造了一种创新的评论模式。它的结论是，非洲文学播客是自成一类的，既提供了实质性的批评，又为传统上被主流文学话语边缘化的声音提供了出口。