Bahadur Tejani's Day After Tomorrow reads most easily as a schematic narrative about race relations in East Africa. The novel runs on a heady mix of Negritude and D.H. Lawrence, offering a sexually and mythically charged, biologically inexorable, historically reductive African pastoral as a vision for East Africa's future. Against this first impression, this paper works towards a less unrelenting reading of the novel. This reading strives to re-value the terms of good faith - the fervent sense of both transgression and alignment - with which this first novel of the South Asian East African Diaspora was offered to its local constituency
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