Due to the impact of African oral tradition the language of African creative writing in European languages (French and English) poses specific translation problems. The author wishes to illustrate the various processes and techniques used to top with these translation problems. The different translation techniques discussed will throw some light on well﷓known concepts in translation theory such as Newmark's semantic vs communicative translation, House's oven vs covert translation, Diller and Kornelius' primary vs secondary translation and Berman's "traduction ethnocentrique" vs "traduction hypertextuelle." Translation as culture transfer, particularly regarding non﷓related language cultures, hes been discussed by translation theorists such as Mounin, Nida, Lefevere, and Snell﷓Hornby. Translating African creative works is a double "transposition" process (1) primary level of translation i.e., the expression of African thought in a European language by ara African writer; (2) the "transfer" of African thought from one European language to snother by the translator. The primary level of translation results in ara African variety of European languages, and the translator’s task is to deal with the unique problems posed by this so﷓celled non﷓standerd language. This paper is focused on the various translation techniques used by translators of African works. These translators show a clean preference for semantic, overt and "°literal" translation, in which, in Nida's terms, format equivalent is given priority over dynamic equivalence. Such an approach is judged by the translators to be the most reliable for an effective representation o£ African sociocultural and sociolinguistic reality in European languages.