ABSTRACT As a genre, the epic is quite familiar in literary study and cricism. Its Western as well as African variants are all well-known among scholars and students of literature all over the world. The epic of Gilgamesh, one of the oldest, is known to predate even The Iliad and The Odyssey. African versions of the epic such as the Mwindo and the Chaka give us some ideas about what the African epic looks like. But when crics at different mes describe Armah’s Two Thousand Seasons, Osiris Rising, or KMT: In the House of Life as a pan-African epic novel, exactly what do they mean by that? In other words, what are some of the formal features of these novels that we could isolate for a closer analysis, and to what extent does this new form resemble, or differ from the African epic. An attentive reading of Two Thousand Seasons (1973) reveals an attempt by Armah to subvert the epic convention to serve his own artistic purpose, which purpose is to create a narrative style that combines both features of the epic and the novel as a platform to re- articulate the ideology of pan-Africanism, [an ideology he re-echoes in Osiris Rising (1995) and KMT: In the House of Life (2002)]. Armah’s peculiar style obviously calls for a critical study of the aforementioned novels. Based on the above assumption, this study concludes that Two Thousand Seasons (1973), Osiris Rising (1995), and KMT: In the House of Life (2002), collectively tell a single pan-African epic story; and that this pan- African epic form is a modification of the African epic that makes a significant contribution to African literature in general, and the African epic tradition in particular.