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A BEAUTIFUL LIFE (Poem)

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By KESA MAKAOTA

When darkness engulfs my days,


When dust chokes my breath,


When fog enslaves my eyes and the rain shatters my skin.

When laughter is but a beautiful enigma and joy fades into a distant nostalgia.

When my face becomes a worn out canvas of old tales, foreign routes and dried up channels that once nourished the nearby grasslands,

When thick beds of solidified ash and debris are the only witness to my existence,

When I am stiffened and stationary in my resting place,

I shall have a hymn in my heart,

 I shall sing sweet melody,

I shall ululate with gratitude in my slumber,

For I have lived a beautiful life!




ADEBAYO FALETI (1930 - 2017)

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By O Bolaji

Pa Adebayo Faleti, the renowned Yoruba writer (from Nigeria) died at the weekend. He was also a veteran actor, poet, translator, and tv facilitator - from inception.

As a creative writer, Faleti was among the best in respect of the Yoruba language, one of the all-time greats. Works associated with him over the decades include Bashorun Gaa, Ogun Awitele, Okun Ife yi, Sawo-Segberi, Saworoide,  ewi Adebayo Faleti, Won Ro pe were ni, among many others.

Yet the late Faleti triumphed despite daunting odds. As a youngster, his family was so poor that the boy had to essentially pull out all the stops to educate himself. This he did earnestly and painstakingly, even attending University in Senegal along the line.

Faleti would work at the first television station in Africa at Ibadan (now NTA Ibadan) where he made his name and began to do great things for the Yoruba language. His early works even entered the school system, like Ogun Awitele, a typical ingenious work which had facetious undertones.

Pa Faleti cared very much about his mother tongue, Yoruba, and deprecated any attempt to undermine this language, which after all is spoken by well over 30 million people around the world. Yet the great man was also proficient in other international (western) languages like English and French.                

Faleti became ensconced as belonging to the corps of all time greats of the Yoruba language; he even collaborated with other icons of the pristine language like Akinwunmi Isola, and of course as an actor too, Faleti got to mix with virtually all the finest Yoruba actors around, like the powerful Lere Paimo.

Faleti's books and general work straddled many genres - drama, poetry, fiction, general essays plus biography - and his work was illustrated in Yoruba comics, or general illustrations. In life and death he remains larger-than-life.

As a Thespian, Pa Faleti had the ambience of a solemn actor, epitomising a distinct gravitas, allied to the flamboyant brio and eloquence one would often associate with outstanding Yoruba actors and actresses. In every particular, he has certainly gone down in history!

Ferdinand Oyono's HOUSEBOY

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This novel, which was written decades ago, is haunting and very powerful, evoking the colonial situation in black Africa in the past. It is very funny and very sombre and sad at the same time. The protagonist, the main narrator is naïve and fascinated by the "gleam" of white life and privilege (to use a word - gleam - beloved by the great Ayi Kwei Armah). 

Toundi believes great vistas are opening up for him by being the houseboy of one of the white colonial administrators. The author brilliantly explores the whole scenario, evoking the raw basic humanity in people across colours and race. 

Here we have discrimination, prejudice, lust and infidelity; and the cruelty personified by the police and penal system. The protagonist actually witnesses a horrific beating up/torture by the penal agents that tragically presages his own demise. As Toundi revels more and more in the white man's secrets, he seals his won doom in the process.

For example Toundi is initially fascinated with the wife of his "master" (more of this later) but soon realises that apart from being a mere human too despite her white colour, she is actually worthless and sleeps around extravagantly. Being aware of such a "secret" is of course dangerous though the irony is that it is no secret at all.

When we see Toundi's white master implying that the "boy" smells badly, it mirrors the sentiment of the black girl lover of a whiteman who complains about the smell of her white boyfriend! Being white of course the lover boy is not too anxious to let the world know about his black girlfriend and does not trust her fidelity at all. In the end our narrator finds himself in an awkward situation though in no way culpable: he is arrested by the system and viciously worked over...soon to die more or less like a dog.

There is a memorable passage in this work that reflects how much Toundi initially "worshipped" the whites; when he first meets the wife of his master and she awkwardly shakes his hand. Hear him:

 "I have held the hand of my queen...from now on my hand is sacred...my hand belongs to my queen whose hair is the colour of ebony, whose skin is pink and white as ivory. A shudder ran through me at the touch of her hand...her smile is refreshing as a spring of water. Her look is as warm as a ray from the setting sun..."

The passage is at the same time funny, serious and tragic. It rather encapsulates Toundi as his life hurtles towards implacable disaster...
-        - Henry Ozogula

FOR NTSWAKI

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 F O R   N T S W A K I

It is a hackneyed cliche
But how appropriate!
Oh NTSWAKI! You were too young to depart this world!
What a Calamitous Loss!
The loss of a prized daughter, sister, mother...
Excruciating. Devastating. Unpalatable
Oh the trenchant pain of your Mother!
Swirling over to engulf siblings
And Oh what an unbridled, irreplaceable loss for your children!
Alas, the Grim Reaper is unrelenting
Spreading shards of Melancholy. Grief.
Pattering of feet to pay tribute to thee
Oh our Darling you were unadulterated Bliss
Bearer and embodiment of sweet-trolleyed gifts
Our jagged emotions, split Raw. Scorched
Now we are left only with Memories. Elusive and Illusive
Tantalising, Fleeting, Evanescent
Oh, Enmeshing the Unwholesome Reality
Congenial. Our hearts will always go out to your Offspring
Permanent reminders of your sweet, uncomplicated self
We envisage you now ensconced in flowery meadows
Until we meet to part no more...

- O Bolaji

MAFIKA GWALA DIES

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Yet another prominent renowned, veteran South African black writer is dead. This time it is celebrated poet, Mafika Gwala who breathed his last this week.

SOUTH AFRICA (Pretoria) :  Arts and Culture Minister Nathi Mthethwa has sent his condolences to the family and friends of legendary poet and short story writer, Pascal Mafika Gwala. Gwala passed away on Sunday.

“It is with deep sadness that we learned of the passing of legendary poet and short story writer, Pascal Mafika Gwala after an illness.

“We offer our condolences to his family, relatives, friends and the writing fraternity in the country, continent and all over the world. In fact, his impulse to testify through literature defined the vision for a new society and contributed to the resilient spirit among the oppressed,” the Minister said.

Gwala was a committed anti-apartheid critic and cultural activist who, from a young age, was part of the Black Consciousness Movement that championed the principle of self-determination for African people.

Gwala was born in Verulam, north of Durban, KwaZulu-Natal in 1946. He spent most of his adult life in Mpumalanga township, west of Durban.

He was at the forefront of the revival of African writing in the 1960s. He published short stories and poems in The Classic magazine, founded by Nat Nakasa in 1963.
His generation of writers, including Mongane Wally Serote, Njabulo S. Ndebele, Oswald Mbuyiseni Mtshali and Sipho Sepamla, among others, became major contributors to the South African literary landscape after the banning of political parties and the imprisonment of many activists in the 1960s.

He authored two volumes of poetry, Jol’iinkomo(1977) and No More Lullabies (1982), and he also contributed to several literary journals, including as the editor for The Black Reviewin 1973.

He co-edited Musho! Zulu Popular Praiseswith Liz Gunner in 1991. 
As a student activist, Gwala was a prominent member of the National Union of South African Students (NUSAS) in the 60s. Together with Steve Biko, Gwala and others who espoused Black Consciousness, broke away to found the South African Student’s Organisation (SASO) in December 1968. 

He was a regular contributor to The Black Review and the SASO Newsletter.
Gwala inspired and mentored many writers, who later became household names in the South African literary landscape.

At the time of his passing, arrangements were at an advanced stage for him to contribute his wealth of knowledge and skills to the arts fraternity through the Arts in Schools project.

This would have provided him with the platform to mentor and impart critical thinking and writing skills to nurture new voices in poetry and prose at schools in the Hammarsdale area.

“We convey our deepest condolences to his family and all those who were touched by his work. His passing is a great loss not only to his immediate family, but to South Africa and the world at large.

“We find solace in his words which will never die. May his soul rest in peace,” Minister Mthethwa said
Courtesy of  SAnews.gov.za

Works
  • Jol'iinkomo (1977)
  • No More Lullabies (1982)
Edited
  • Black Review (1973)
  • Musho! Zulu Popular Praises, with Liz Gunner (Michigan State University, 1991)

THE SUBLIME POETRY OF CHRISTOPHER OKIGBO

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By Akeem Lasisi (PUNCH, Nigeria)

The Christopher Okigbo Foundation rallied family and friends and of legendary poet, Christopher Okigbo, to the University of Ibadan (Nigeria), where the 50th anniversary of his death has been marked.
The legacies of poet and activist, Christopher Okigbo (pix, above), were celebrated in Ibadan this week, when the Okigbo Foundation held the 50th anniversary of his death.
Okigbo, author of acclaimed poetry volumes, Labyrinthand Path of Thunder, died on the battle field, fighting on the side of Biafra during the Nigerian Civil War.

At the event held at the University of Ibadan, writers, especially Okigbo’s contemporaries such as Profs. Wole Soyinka, JP Clark, Chukwuemeka Ike and Dan Izevbaye, noted that his contribution to the growth of literature in the country and beyond was enormous.

Some of them, however, situated his adventures in the country’s struggle for identity, justice and progress.

According to Soyinka, Okigbo lived his life on conviction. The Nobel laureate said that he was not just an activist, but also someone who put his life on the line.
He also described Okigbo as a “multi-variant and a renaissance person.

Expressing worries that Nigeria was still stranded in the kind of situation in which Okigbo died, he said, “It’s telling that his anniversary is taking place at a critical period for us as a nation. We are confronting a choice brought up by mis-governance, leadership alienation and lack of opportunities. We are moving slowly, intermittently out of a menace called Boko Haram but which is now being succeeded by cattle rearers who feel they own every square inch of the nation.”

At the programme attended by Profs. Kole Omotosho, Remi Raji and The NEWS publisher, Mr. Kunle Ajibade, Soyinka expressed regret about the Indigenous People of Biafra issue, as well as the military’s reaction,  saying there must be a way out of what he called the periodic cycle of stupidity that overtakes the country again and again.

He also condemned the militarisation of the country and asked the military to probe the video of IPOB youths being punished by soldiers, as they were seen lying in mud.

In his keynote address, Izevbaye highlighted aspects of  Okigbo’s life as an accomplished poet and gave an insight into how musical his poetry is.
According to him, Okigbo was a cosmopolitan poet as evident in the Greek and Latin that echo in his works. He said his forage into war was an act of heroism, adding that the deceased embraced the gun because he knew the limitation of poetry when it comes to missiles and grenades.

Also at the event were the Deputy Governor of Oyo State, Chief Alake Adeyemo; Okigbo’s wife, Ambassador Judith Attah, revered publisher, Chief Joop Berkhout, and Chief Alex Ajayi, who was Okigbo’s principal at Fiditi Grammar School.

The foundation’s head, Mrs. Obiageli Okigbo, who was supported by a former President of the Association of Nigerian Authors,  Dr. Wale Okediran, to organise the programme, noted that several events and projects were being carried out to propagate Okigbo’s ideals.

Courtesy of The Punch (Nigeria) - slightly modified here

BILAKHULU! By Vonani Bila

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Vonani Bila is one of the most accomplished poets from South Africa, never mind being a black man with exceedingly humble roots. Over the years he has published many works of poetry and generally encouraged and published loads of other authors; churning out a plethora of poetic anthologies in the process. His published works include the following: I love Ohazurike, In the name of Amandla , Magicstan fires, Pension money The girl with a golden tooth, Magweya, Mali ya mudende, and Handsome Jita: selected poems by Fred Vonani Bila.

Bilakhulu! : longer poems
by Fred Vonani Bila is of course the very latest work which showcases the poet at the peak of his creativity and work. The poems are generally long and encapsulate the gamut of human experience, including Bila’s own roots and antecedents. He has not forgotten his beginnings as he writes here:

I grew up in a mud hut
Drank water from the wells
Slept on the itchy majekejeke mat on a cowdung-smeared floor
At 10, I was still wetting myself in the night
The millipede powder couldn’t stop the habit either
I showered from a plastic basin
Often used a water-filled mug to wipe my face
And extinguished the rotten rat wreaking havoc in my armpits


Readers of Bila’s poetry over the years know that he does not shy away from polemics, or the chilling violence and death often associated with South Africa over the decades. A harrowing feature has always been the way women can be horrifically killed, tortured, raped and killed, mainly in the townships, and elsewhere in the country. One experiences pathos and horror as we read:

The girl with dark-liquid eyes
Song-bird, leader of the church choir
Eagles discovered her this morning
Lying in a pool of blood
Skirt torn apart, a rag
Her throat throttled
Her sharp, pointed breasts missing
Virgin girl, now a frozen corpse


Mr Vonani Bila started writing poetry as a very young man and he is very much a cosmopolitan writer, academic, man of letters, publisher et al, these days. This new work of his is an accretion of his life and work, sundry personal and vicarious experiences, distilled into malleable, wholesome poetry. Kudos to him!
-         - Malome Eric

A SIMPLE LUST. By Denis Brutus

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Denis Brutus, from southern Africa, was a very polished, assiduous poet. Think about "difficult" rather academic African poets – e.g Lenrie Peters, Wole Soyinka, Dambudzo Marechera - and most would surely plump for Brutus as belonging to this category. This early work of his clearly shows why most categorize him as a "protest poet" which was understandable in view of the egregious, horrifying apartheid system that held sway during that time in his homeland. Brutus created superb poetry despite all these strictures, and African poetry is the better for it. The celebrated poem, "A troubador I traverse..."showcases the poet at his best, as a sublime, subtle versifier. But this collection is redolent with all the accoutrements of fine poetry - personification, rhymes, stunning rhythms, litotes, metaphor, simile, and the entire gamut. An early giant of African poetry, Mr Brutus. Sadly, a few years ago, he and another poet of such ilk, Kofi Awoonor, breathed their last.

MINE BOY. By Peter Abrahams

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The importance of this early novel from any black or coloured African in the pantheon of African literature can not be over emphasized. Pa Abrahams who sadly died this year after glimpsing becoming a Centenarian was a very good perceptive writer with sensitivity. 
Despite growing up in the hell of a racist enclave – where blacks were considered very inferior - he always managed to write from the “human” point of view with restraint and civility and great intelligence. This is obvious in this work as we zero in on Xuma and his metamorphosis into a man and thinker over the years. From a very simple, naïve country bumpkin he attains awareness late on in a way that would strike clanging chords among all readers…as it did over the decades, with the world realizing how “apartheid’ was a horrific, unbearable thing in South Africa. 
And the work is a fine read too, right from the beginning as Xuma arrives at Malay camp, gets to mix with a medley of people…he gets a job in the Mines and is struck with the way the life of whites – with their many comforts and appurtenants – contrasts sordidly with the life of blacks. Why should whites be free and drink liberally whilst blacks were constrained to carry passes in the land of their birth? And also arrested for selling and drinking “local drink”?
Leah, the powerful ‘Skokiaan queen’ is a splendid woman and somewhat takes the naïve Xuma under her wing. His initial naivety is charming, and his great strength very impressive too. Life would have been fairly okay if not for all the constrictive structures of racism in society. The descriptions are beguiling and unforgettable here, including the colourful weekends in the townships! Hark at the dancing sequences, coquetry, flirting and drinking. 
Xuma himself is not celibate as the story unfolds, and he is very much entranced and “in love” with Eliza who is presented as beautiful; but conflicted and eccentric as she “craves for the fine things of the whites” which she can never have. It is a haunting, somber aspect and we are happy for Xuma as things initially go well between him and Eliza - till she disappears! Eliza has gone…Yet the other woman, Maisy, is always there for Xuma and understands him and handles her own frustration with extraordinary selflessness and maturity. 
Xuma begins to think about things, and the irony is that it is a white man, Paddy, who conscientizes him and lets him fully realize that one should not believe in racial superiority or otherwise, and the “good things of life” should be for everybody, not only whites. That all men should be free and equal. If only it were so…the whole idea grips Xuma and he begins to think along these lines…man as man, never mind colour or race…goodness and fairness and freedom!
It is the making of Xuma, as a series of undesirable and tragic events unfold in the last part of the work. Xuma leads a rebellion in the mines at the end and is none the worse for it,; he is ready to settle down with Maisy at last (once he has left jail). This is grim and halcyon at the same time. A wonderful work indeed.
- Malome Eric

CHIEF O BOLAJI ON THE LATE FLAXMAN QOOPANE

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The literary fraternity has been reeling with the recent death of Flaxman Qoopane, a long standing flamboyant journalist, author, poet, and literary activist.

The award winning, incredibly prolific writer, Chief O Bolaji, whilst wrapped in sorrow over Qoopane’s death, briefly went down memory lane this week as he reflected on his close association with the late writer over the decades.  Bolaji said.

"When I first arrived in South Africa over 20 years ago Qoopane was the one who took me under his wing, showing me the ropes as it were. We were so close that many people used to refer to us as twins! Qoopane himself used to say that I was the only real friend he had.

“But this was not strictly true of course, as he was a friendly man, ebullient and effervescent to boot, with so many people he was quite close to. There was the great Gilbert Modise for one; and other people strutting their stuff in arts and culture.

“But it was true that in terns of working together and letting our hairs down too, I was the closest to him,” Bolaji continued. “ Professionally we worked on countless stories, news, articles, features and the like. We wrote for publications like Next, Realtime, Hola, Daily Sun, Mangaung News, Free State News, Kopanang, E and E magazine…

Bolaji laughed lightly, going on:  “You know he (Qoopane) was a born journalist. His glee knew no bounds after his writings came out in any publication – he would issue whoops of delight and canter around like the free spirit he was. He meticulously kept hundreds of stories we wrote over the years; whilst I do not even have just one, myself now!

“As regards relaxation, we did that a lot. He was so generous that whenever any remuneration came in he would insist on buying us drinks first with his own share of the money. We would go to many joints or centres, enjoy beers and fine food (laughing). He has written about this in some of his books like Adventures in Journalism

“We’ll return to the books presently, but I must also stress that he used to be something of a ladies’ man too… as he was so famous,” Bolaji pointed out. “He knew I was very shy but yet he would introduce ladies to me and encourage them to follow me to my place…with that prodding, authoritative baritone voice of his!”

Talking about books, Bolaji stressed: “As for Qoopane’s books, he published over ten of them, more or less all of them important for historical, scholarly, sociological or journalistic reasons. The books included A poet abroad, The Conference, Macufe 2001 and his favourite work, Reneiloe-Mpho’s story which involved his beloved daughter, now a beautiful young woman. I will give you a full list of his books at the end…”

“To be honest, I would need a book to talk about Mr Qoopane, but let me just stress two other things briefly. Firstly at the latter part of his life he was blessed with a wonderful wife, Mme Emily (a writer herself), who gave him much happiness. Secondly, he was a very versatile, finicky, punctilious writer; he published biographies, fiction, criticism, poetry, general works, and lots more. His departure is horrific for arts and culture”

- Feature by Dan Xangaza


BOOKS BY FLAXMAN QOOPANE

A Poet Abroad
Memoirs of a Cultural Activist
Adventures in Journalism
Reneiloe-Mpho's story
Macufe 2001
Women of Talent
Gilbert Modise: the man and the myth
View from my Window
Omoseye Bolaji: Perspectives on his literary work
The Conference
THE CREST
City of Roses and Literary Icons
Scintillating stars from the vibrant soil

DEMISE OF THE AFRICAN GREATS

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By Raphael Mokoena



The publishing industry continues to trundle on, despite travails. Even here in Africa progress continues to be made in unearthing new literary gems, bringing out new works by the established wordsmiths etc. The year 2017, now reaching its end, has not been different. 



But to be honest, for me the year 2017 in respect of African literature was outstanding mainly because of the demise of three exceedingly revered, highly talented writers, all of them belonging to the pantheon of our all time literary greats: Peter Abrahams, (above)Miriam Tlali and Buchi Emecheta.

Peter Abrahams, and Miriam Tlali, both from South Africa were pioneers and trail blazers.  Abrahams a 'coloured' writer left SA as a very young man and went on to the dazzle the world with a string of superb novels and general works, making the horrors of racial discrimination known globally via his writings. Works of his like Mine Boy, and Tell Freedom live on in World consciousness. 



Miriam Tlali (above) was the first black woman from South Africa to publish an excellent novel, Muriel at Metropolitan, or Between two Worlds - the title she preferred. She went on to write and publish several other creative works, including short stories.  Her name is etched in gold in African literature. 

As for the loss of Buchi Emecheta (below) - what a wonderful writer! Never mind that she was female.  A Nigerian by birth, she did wonderful things for African writing. She published at least twice the number of novels that the illustrious Achebe published. Her works are all powerful in their own way, pushing feminine writing and ideas to the fore. Emecheta was world class, focused, brilliantly creative and was a pioneer too.



So, three great African writers left us in 2017, all of them pioneers and world class to boot.  We should continue to read their literary works and celebrate them! But this 2017...

Keorapetse Kgositsile (1938 - 2018)

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A minuscule tribute by O Bolaji

South Africa's greatest Black poets? One's mind automatically goes to Mongane Wally Serote, and Keorapetse Kgositsile, who has just died.


I have been lucky enough to meet both exalted bards over the years. Kgositsile epitomized poetry and was a warm, affable, eclectic  presence who graced poetic and literary occasions with elan.

Prof Kgositsile always exuded bonhomie despite his awesome credentials as international academic, wordsmith and author of several works distributed in hundreds of literary centres worldwide.  He would very warmly hold hands with much younger burgeoning poets, joking with them, showing them many of his published works in deprecating fashion.

His face always creased with smiles; evoking laughter and applause, Bra Willie was nevertheless a tough literary critic who would attack the works of the literary greats like Achebe and Ngugi. But of course in fairness to him, he was critical of his own works too. "One might find out that what one has written is a can of worms" he would say.


He was a well travelled, polished bard, highly respected globally.  I recollect Mr Malcolm Hacksley, former Director of NELM Grahamstown telling me some intriguing anecdotes about Bra Willie. The late Flaxman Qoopabe was also well enamoured with prof Kgositsile. His pungent criticism often upset much younger bards at literary occasions, but nevertheless they all warmed to him and admired him.


The late prof Kgositsile early in his career was something of a journalist; he went on to study at Columbia University in the USA, where he was influenced by Black poetry, with strong musical - jazz - elements integral to his poetry. He published over ten revered works on poetry, and was named as South African National Poet Laureate in 2006.


Books published by Keorapetse Kgositsile

The word is here: poetry from modern Africa

My name is Afrika

Spirits Unchained

For Melba

The present is a dangerous place to live

If I could sing: Selected poems

This way I salute you: Selected poems

When the Clouds clear

To the Bitter End

Approaches to Poetry Writing 

Places and Bloodstains: notes for Ipelang

FURTHER GLIMPSES INTO AFRICAN LITERATURE

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EDITED BY I. M SOQAGA AND O BOLAJI

Essays on selected works of disparate African writers, like:

Cyprian Ekwensi
Ferdinand Oyono
Peter Abrahams
Flaxman Qoopane
Lola Shoneyin
Khanyi Mbau
Maria Sharapova
Charles Mungoshi
Wole Soyinka
Nadine Gordimer
‘Efunsetan Aniwura’
Leseli Mokhele
Tiisetso Thiba
O Bolaji
Shehu Sanni,
Memory Chirere
Ellen Banda-Aaku,
Dillibe Onyeama
Vonani Bila
Maxwell Kanemanyanga
Richard Rive
Laureta Ngcobo
Elechi Amadi
Adebayo Faleti
Buchi Emecheta
Isidore Okpewho
Heidi Holland
Flaxman Qoopane
Keorapetse Kgositsile



THE EDITORS
Mr Mzwandile Soqaga is the acclaimed author of works like Promoting Quintessential African Writing and Glimpses into African Literature. Chief O Bolaji is the illustrious author of the Tebogo Mystery series, as well as striking books like Windmills of the Dames, People of the Townships, The Ghostly Adversary, and It Couldn’t Matter Less
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