In the following essay, Olaogun explores the recurring theme of slavery in Anowa, Bessie Head's Maru, and Buchi Emecheta's The Slave Girl, asserting that the slavery motif “suggests a deeper structural analysis of historical time than a focus on the immediate independence period as a privileged moment through which the postindependence morass in Africa could be understood.”

In the following essay, Olaussen argues that Changes: A Love Story presents an “utopian” vision of the deconstruction of traditional sexual roles in postcolonial Africa.

In the following essay, Owusu considers the impact of racial and gender issues on Our Sister Killjoy, commenting that the novel “seems to defy easy categorization, and one soon gets the impression that it defines itself by this very fact.”

In the following essay, Samantrai asserts that African nationalism is a major recurring motif in Aidoo's oeuvre, noting that works such as Our Sister Killjoy function as “example[s of how a non-racialist, non-foundational African identity might lead to Pan-African solidarity.”]

In the following essay, Wilentz evaluates the “dilemma” of traditional African versus Western values that Aidoo constructs in The Dilemma of a Ghost.

In the following essay, Innes discusses how political and cultural corruption relates to and influences the work of Aidoo and Ghanaian author Ayi Kewi Armah.

In the following essay, Karavanta discusses Anowa from a global perspective, commenting that the play's most significant attribute is “the multiple voices that it engages in addressing the problematic of colonialism and the beginning of the flow of white capital in the region of the Gold Coast.”

In the following interview, originally conducted in Fall 1991, Aidoo discusses her role as an African writer, African immigration to the West, and elements of feminism in her work.

In the following essay, Wilentz asserts that Our Sister Killjoy deconstructs traditional “prescribed theories of exile” and presents an original narrative from the perspective of a female African expatriate.

In the following essay, Eko examines how Aidoo subverts the traditional role of the African female protagonist in Anowa, comparing the play to several works from African and African American authors.

In the following essay, MacKenzie examines Aidoo's generally optimistic portrayal of postcolonial African culture in No Sweetness Here, arguing that the collection employs “a narrative technique of closely juxtaposed binary oppositions that attest to glimmers of benignity in the midst of social decay.”

In the following interview, originally conducted on January 29, 1992, Aidoo discusses her feminist perspective, African nationalism, and the portrayal of African immigrants in her work.

In the following essay, Nwankwo explores how the reality of African feminism is portrayed in No Sweetness Here and Our Sister Killjoy.

In the following review, Gardner compares and contrasts Changes: A Love Story with Nigerian author Buchi Emecheta's Kehinde.

In the following review, Afzal-Khan comments on No Sweetness Here on the occasion of its reprinting over twenty-five years after its original publication.

In the following review, Smith praises the stories in The Girl Who Can and Other Stories, complimenting Aidoo's examination of gender disparity in postcolonial Africa.