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THE EDIFICE. By Kole Omotosho

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'Why do couples get married? Or to narrow things down, why do men decide to marry and settle down? Surely love must be a major ingredient, or should be, despite the fact that as time goes on the protagonists might get disillusioned, disenchanted and drift apart. This is a common scenario worldwide. In this work a young Nigerian travels abroad for his studies and marries a white English lady, Daisy. Ultimately they come together to Nigeria where things fall apart decisively for the lady. Her man (husband), Dele does not come across as the most charitable of men, as he is wont to cast aspersions on women generally, including his "native" women back at home – are they (women) really that grasping, greedy and importunate? But Daisy actually seems a very nice lady and it's a crying shame that she's subjected to such humiliation and pain by her husband. After all, looking at it objectively, she makes tremendous sacrifices, leaving her well known comfort zone in Europe to be beside the man she loves far away in Africa. The man who treats her like trash. Daisy's docility seems incredible.(Contrast the situation in another celebrated novel, by Mariama Ba – THE SCARLET SONG -, where the "scorned" white female protagonist in a similar situation apparently snaps, kills her own baby and tries to murder her own two-timing man). Some pundits point out that when African writers paint such picture of white women involved with African men suffering inexorably, it is some sort of atonement for how the "western world plundered and purloined Africa". Nonsense? Essentially, the sympathy would solidly be on Daisy's side...'

Other books by Kole Omotosho

Creative Works

The Edifice (1971)
The Combat
Miracles (short stories) (1973)
Fela's Choice (1974)
Sacrifice (1974, 1978)
The Scales (1976)
To Borrow a Wandering Leaf (1978)
Memories of Our Recent Boom (1982)
Just Before Dawn (Spectrum Books, 1988, ISBN 9789782460073)
The Curse (1976)
Shadows in the Horizon (1977)

General

The Form of the African Novel (1979 etc.)
The Theatrical Into Theatre: a study of the drama and theatre of the English-speaking Caribbean (1982)
Season of Migration to the South: Africa's crises reconsidered (1994)
Achebe or Soyinka? A Study in Contrasts (1995)
Woza Africa (1997)

COMES THE VOYAGER AT LAST. By Kofi Awoonor

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Kofi Awoonor - the Ghanaian who first took the literary world by storm (before Ayi Kwei Armah); contemporary of the Achebes, Soyinkas, and Ngugis. Essentially renowned for his poetry, he also wrote two excellent novels, Comes the voyager at last being his second one (the publication of the book apparently delayed for many years). It is no surprise that lots of poetry dot Comes the voyager at last, though the prose of course is excellent. Awoonor luxuriated in his mother tongue Ewe, whilst alive, and often paid tribute to it as his "muse". He was a brilliant all-round writer, essayist, critic, novelist, poet, polemicist - general man of letters. He loved his continent, his people, his language et al passionately. Writing in English did not diminish his impact or influence; he was recognised as a great African writer. The language of Comes the Voyager at last is as impressive as that employed in his first (early) novel, This earth my Brother. Awoonor's second novel details the odyssey of an African who has run the gamut of painful human experience; taking in the horrific Trans-atlantic slave trade which devastated Africa so much; oppression, suppression, dehumanization and humiliation of the black man, particularly in the New World. Awoonor, like other writers - such as Ama Ata Aidoo, Armah, and Mphahlele - depicts disparate scenario of subjugated black man (race) whilst far away from "home" (Africa). Until the protagonist comes back home, home to "pristine" Africa where there is dignity, respect, panache, and strong bristling culture. And at last he finds love! Untramelled love within the prism and ambience of freedom, and tantalising societal mores. Here the author adumbrates SA writer, Es'kia Mphahlele, who always basked in "African humanism", "ubuntu" which he stressed was quite unique to Africa. And at last here, the Voyager is indeed quintessentially at home...kudos...
- Malome

ISIDORE OKPEWHO (1941 – 2016)

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Okpewho: World class academic and novelist

By I M Soqaga (South Africa)




Alas! Africa is now experiencing another melancholic situation with its own wordsmith.  Recently it has apparently become usual to see the old-literary pioneers of African literature leaving this world.  Death is now robbing the continent its own noteworthy writers.  However, death is part of human life and is inevitable.  In the event of death Africans are invariably ready to show their deepest respect for the fallen ones.  

Therefore, it is imperatively adequate for Africans to honour their own literary giants when they are alive, and even afterwards.  Of course their contribution in African literature continues to make Africa invaluable in the world, so they deserved to be acclaimed and celebrated.

For decades African literary pioneers and catalyst played a magnificent role in the evolution of African literature.  Their enchanting energy and the flair they demonstrated over the years is vividly awesome.  These are writers who denied the foreign influence to overpower them.   With pride and determination, they courageously refused to be instructed about their heritage and themselves.  Instead they lead the way and show the world that equally they are excellent to vie for any literary principal awards in the world of letters.

Today! Yes today Africa is mourning the demise of one of its own literary wordsmith Isidore Okpewho.  They are not mourning in despair but with the great delight in celebrating the life and times of Professor Isidore Okpewho.  Certainly-his death left the African continent reeling with profound devastation.  When one ponder about his absolute commitment in advancing and propagating African literature.  Surely, his demise is the great loss to African continent.   

Professor Okpewho grew up in Asaba where he attended St. Patrick’s College.  He went on to graduate with first class honors in classics at the University of Ibadan in 1964 where he won the classics departmental prize and the College scholarship.  One should take into consideration how the University of Ibadan produces remarkable giants of African literature over the years.  Great names like Wole Soyinka, Chinua Achebe, Ike, Saro Wiwa, Labanji Bolaji, Osundare, Amadi Elechi, Isidore Okpewho, etc to name but few are alumni of the University of Ibadan.

For decades Isidore Okpewho had contributed immensely in African literature.  Being well known abroad and among other things his literary prowess is wonderfully revered in the world of letters. The world and Africa cannot ignore the fact that Okpewho contribution in literature as well as other acclaimed literary wordsmith of African continent, made Africa popularly recognised. 

There is a lot of wealth of knowledge that can be procured from Isidore’s literary achievement.  In Pan African context Okpewho’s legacy needs to be adored as the radiant light that illuminate unremitting throughout African continent and in Diaspora.  For the fact that books nowadays are becoming scant in Africa and that in advance countries of the West books in particular African literature are relished with great enthusiasm.  Astonishingly, in the past in Africa, books were fervently appreciated with great glee but today, alas the ardent eagerness is waning.   

It is rather complicated to understand why books especially the avalanche of literature that is produced by African writers is hardly available in African libraries, while Western materials are significantly available in large quantity in African libraries.  It is delusion to believe that only few famous books about African literature we notice in libraries are only books produced by African writers.  The conspicuous reality is that colossal number of books Africans writers cultivated is enormously great however their unavailability in the public libraries of Africa is shockingly disappointing.  I don’t think Prof. Okpewho would be impressively chuffed at this scandalous situation that is prevailing in Africa.  How one will ameliorate literacy while books are not available for people to read?  In order for people to be educated they need books, children need books as well as society at large.

Professor Isidore Okpewho graduated from the University of London, and from the University of Denver with a Ph.D. in Comparative literature, and from the University of London with a D.Lit. in the Humanities.  He taught at the University at Buffalo, The State University of New York from 1974 to 1976, University of Ibadan from 1976 to 1990, Harvard University from 1990 to 1991 and Bighamton University.  Prof.  Okpewho died peacefully at a hospital in Bignhamton. For his creative writing work, Okpewho won the 1976 African Arts Prize for Literature and 1993 Commonwealth Writers’ Prize Best Book Africa. His four novels, “The Victims, The Last Duty, Tides, and Call me by my Rightful Name” are widely studied in Africa and other parts of the world, with some of them translated into major world languages. 

Works

Novels


·       *         The Victims, Longman, 1970
        The Last Duty Longman, 1976; Longman, 1986
        Tides, Longman, 1993, 
        Call Me By My Rightful Name, Africa World Press, 2004,

Non-fiction
        The Epic in Africa: Toward a Poetics of the Oral Performance, Columbia University Press, 1979 
        Myth in Africa: A Study of Its Aesthetic and Cultural Relevance. CUP Archive. 1983
        African Oral Literature: Backgrounds, Character, and Continuity. Indiana University Press. 1992
        Once Upon a Kingdom: Myth, Hegemony, and Identity. Indiana University Press. 1998

SHE NO LONGER WEEPS. By Tsitsi Dangarembga

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Strange how when a book is published in Africa (generally) it is rare indeed for it to be celebrated; for scholars, critics reviews etc to focus on the work trenchantly. But one would expect any work by Tsitsi Dangaremgba to be a rave, even if it is early work, and first issued in Africa. After all, Dangarembga is one of the all time female greats of African literature. But She no longer weeps hardly garners any attention compared to the great novels of the author. Shame, perhaps. Africa has a number of quite distinguished female playwrights and it is reassuring that Dangarembga (from Zimbabwe) is one of them. Zulu Sofola of Nigeria paved the way for female dramatists in her country, and in recent times her compatriot, Osonye Tess Onwueme has performed miracles in the theatre. Ama Ata Aidoo of Ghana also remains a titan as far as drama is concerned. And Gcina Mhlope is an icon in South African theatre. In She No Longer Weeps, Dangaremgba from early in her literary career, already writes about her pet themes, rather railing against patriarchy, and disenchanted with the general lot of life of autochthonous women. Yes, in Africa in particular despite advances in our milieu and times most women still have to play second (or even third) fiddle to men, depending on them for survival, delving into prostitution, having to trade their bodies for promotion, job advancement et al. And it is worse in the panoply of rural areas. Here in this play the focus is on the plight of a particular young lady and how she is impregnated. But alas, instead of accepting her plight in supine fashion she proceeds to get revenge against the man responsible for her condition. What one would expect from the author of course, who believes in the worth, dignity and resilience of (African) women. An interesting work which some might regard as "apprentice" work, but then again, the author is a legend...
- Malome

YEMISI AREMU OTASANYA (Author)

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(Yemisi Otasanya in her own words)

‘My passion for writing started at the age of 8, when out of boredom, I picked up my pencil and wrote my first poem. Daddy was my first audience. May God bless his soul. He laughed heartily after reading the poem. It was more of a paradox about a frog who could not sing, but was a choir master.

Rather than hang out with my friends during playtime, I spent most of the time imagining about adventures in space, fighting aliens and conquering colonies. I imagined I was a dashing irresistible warrior princess with no interest in love, a super hero, a secret spy and much more. At the age of 11, while in year 1 of Junior Secondary School, I wrote an adventure script and shared it with my friends. They loved it and pressurized me to write more, but I deterred. 

As a teenager, I wanted to be a scientist and not pursue writing. I had a secret herbarium where I carried out research on the flora in Abuja city and did a lot of research writing and occasional articles in local dailies. I also engaged in loads of freelance writing and editing for friends, collecting stipends in return.

I am currently an IT project manager, an author, a mother and wife and I love studying nature, stars and their constellations, elements, history, cultures, managing complex projects, meeting people, dancing (I have my own symphony, lol). I am crazy about science fiction.

I do loads of research before embarking on a writing project and I have God as my father. I never make assumptions about people or jump to conclusions without hearing both sides of the story. I believe we all have the chance to be better. My weed is writing. I hope you enjoy reading my books.’

Books by Yemisi Otasanya

Perfect Body, Perfect Baby After Delivery


Above The Ether

BEN OKRI'S AWKWARD LAUREL

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Ben Okri of course is one of the most outstanding, fecund writers Africa has ever produced - he was still a rather young man when he won the 1991 Booker prize (for his work, The Famished Road). 

Okri has harvested many other awards and laurels over the years, but probably his most awkward gong came in late 2014 when he won the Literary Review Bad Sex in Fiction Award, on the strength of a description in his novel, The Age Of Magic. 
  
Lao and Mistletoe are the protagonists in the love scene, and here is how Okri

"When his hand brushed her nipple it tripped a switch and she came alight. He touched her belly and his hand seemed to burn through her.

"He loved her with gentleness and strength, stroking her neck, praising her face with his hands, till she was broken up and began a low rhythmic wail...     

"The universe was in her and with each movement it unfolded to her. Somewhere in the night a stray rocket went off...".

BOOKS BY BEN OKRI
  • Flowers and Shadows 1980)
  • The Landscapes Within (Harlow: Longman, 1981)
  • The Famished Road London: 1991)
  • Songs of Enchantment (London: Jonathan Cape, 1993)
  • Astonishing the Gods 1995
  • (Dangerous Love (London: Weidenfeld & Nicolson,1996)
  • Infinite Riches (London: Weidenfeld & Nicolson, 1998)
  • In Arcadia (Weidenfeld & Nicolson, 2002)
  • Starbook 2007)
  • The Age of Magic (London: Head of Zeus, 2014)

Poetry, essays and short story collections

  • Incidents at the Shrine (short stories, 1986)
  • Stars of the New Curfew (short stories; , 1988)
  • An African Elegy (poetry; London: Jonathan Cape, 1992)
  • Birds of Heaven (essays; London: Phoenix House, 1996)
  • A Way of Being Free (essays; London: Weidenfeld & Nicholson: 1997; London: Phoenix House, 1997)
  • Mental Fight (poetry: London: Weidenfeld & Nicholson, 1999; London: Phoenix House, 1999)
  • Tales of Freedom (short stories; London: Rider & Co., 2009)
  • A Time for New Dreams (essays; London: Rider & Co., 2011)
  • Wild (poetry; London: Rider & Co., 2012)





Books by Ben Okri

AN INTRODUCTION TO THE AFRICAN NOVEL. By Eustace Palmer

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For me, it has always been a crying shame that relatively very few African readers - even lovers of creative fiction - appreciate this type of work. Certainly over the decades this book has been acknowledged as a classic, and justifiably so. The brilliant academic/critic here makes lots of controversial remarks/conclusions, but the important thing is that he introduces us to many early great African novelists in stupendous fashion. Even in his polemical introduction - where the author apparently undermines fine African writers like Achebe, Lenrie Peters, and Wole Soyinka, the author still writes impressively on them all (Soyinka was still quite young then, but his sublime works would ensure that he went on to become the first African to garner the Nobel Prize in literature). Quand meme, the author/critic goes on to analyze some outstanding African novelists and authors in depth. One might be surprised that he claims Chinua Achebe resorts to "melodramatics" in his (second) novel, No longer at ease; but I have met many literary aficionados over the years who have affirmed that pertinently, the behaviour of the lady, Clara, is actually what one would expect from such a beleaguered young woman in such a situation...it was up to Obi (the male protagonist) to fight for her if he really wanted to do so. The author acknowledges Ngugi as a very good writer too, though he appears to dub the author as a bit "naïve, promising" in regards his first novel, Weep not child. For many of us though, the greatness of Ngugi has been very much obvious from his initial works. By the time prof ? considers Ngugi's A grain of wheat in this work, he sings his praises as a creative writer to high heavens! Again one might be a bit startled that the critic has some doubts about a superb work like Camara Laye's African Child, but at least he considers the same Laye's novel, The radiance of the king to be quite excellent. The themes of this work appeal - eg the idea of a white man (Clarence) coming to Africa and morphing in the process sort of reverses what world was used to at the time. There are kudos for Mongo Beti too, an "ironical" author; and Ayi Kwei Armah who had stunned the world at the time with his "The beautyful ones are not yet born"... The critic has a lot of time for Gabriel Okara's novel, The Voice, "a short work" which apparently delivers strong moral, cultural and even syntactic messages than much longer works of fiction have done. The critic, as usual, quotes liberally from The Voice, a "strange" but convincing work. Looking back now on the literary landscape, one might find it incongruous that the critic here apparently rated an author like Okara higher than the likes of Soyinka, Peters and Ekwensi, but that's literary criticism for you!!
- Eric Malome

JACOMIEN SCHIMPER HONOURED

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The highlight of the occasion was the major speech well known literary critic, Mr Pule Lechesa delivered, extolling the vision and goodwill of Mrs Schimper. For good measure he sprinkled his address with references:


1. For the love of Words: focus on the Eclectic Writers Club. 2001.   
2.  The Growth of Free State Black Writing (Part 6). Edited by Peter Moroe. 2008.        
3. "The Bard of Bloemfontein". By Achal Prabhala. Chimurenga Journal. 2011. (Also online)   
4. It Couldn't Matter Less. By O Bolaji. 2013.     
5. Windmills of the Dames. By O Bolaji. 2014.      
6.  "Literature: Women can be Awesome!" By Leke Giwa (Ghana). Available online via this link:        http://toastlothane.blogspot.com.ng/2016/11/literature-women-can-be-awesome.html                                                                                                              Note photo of Mrs Schimper in this feature, online.
7.  “Lechesa graces Macufe Wordfest” By Pule Lechesa (also available online)



BETTER THAN GOLD

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Better Than Gold 

A poem by Atinuke Lawal (Obafemi Awolowo University)

Precious yellow metal
Used for making ornaments and jewellery
You are valuable, you are good

But there is something better than you
Gold is good and costly
Silver is wanted by many

But there is something better still
Good name is better than gold
When a person with gold dies

He is forgotten as soon as his gold is shared
When a person with good name dies
He is constantly remembered

Humans’ good deeds are written in gold
A good name endures and stays forever

SORRY YOU'VE BEEN TROUBLED. By O Bolaji

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Books reviewed here: 

Comes the Voyager at last. By Kofi Awoonor.
Anatomy of female power. By Chinweizu.
Black Man's Dilemma. By Areoye Oyebola. 
Kossoh Town Boy. By Robert Wellesley Cole.
The Edifice. By Kole Omotoso. 
A selection of African Poetry. By Senanu and Vincent.  
She no longer weeps. By Tsistsi Dangarembga.   
Symphony of Destruction. By Sunday Adebomi.
Winds against my soul. By Laolu Ogunniyi.     
People of the city. By Cyprian Ekwensi. 
Kasi Nerd. By Tebogo Ditshego.
The Worshippers. By Victor Thorpe.    
The history of the Yorubas. By Samuel Johnson.   
African Delights. By Siphiwo Mahala.
Deepest Springs. By NMM Duman.    
The Dreaded Farm. By J Olu Ogunsusi.     
Why are we so blest? By Ayi Kwei Armah.  
An Introduction to the African Novel. By Eustace Palmer.  
The Trials of Brother Jero. By Wole Soyinka.
The trouble with Nigeria. By Chinua Achebe

IN THE OFFING, FROM NTATE THIBA...

ADIEU, BUCHI EMECHETA

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Buchi Emecheta (1944-2017)

- An extraordinary African Woman Writer

By I. M Soqaga

Absolutely, Africa for decades has produced many prodigious and capable writers whose writing fascinates the world exceedingly.  Africa has something important to boast about when it comes to African literature.  Writers of profound stature like Wole Soyinka, Chinua Achebe, Lewis Nkosi, Mongo Beti, Esk’iaMphahlele, Bessie Head, Mariama Ba, Miriam Tlali, OusmaneSembene, Ama Ata Aidoo, GraceOgotetc are from Africa.

Of course, due to oodles factors African writers have been displaying their literary prowess from other countries of the world like in Europe and America.  Also others have been flourishing in African soil.  However, like I mentioned that there are large numbers of reasons for African writers to thrive outside Africa.  As the world is mourning the elegiac demise and simultaneously celebrates the life of one of the sedulous African women writer BuchiEmecheta, Africa has to remember that BuchiEmecheta was from Africa.  Her early life began in Africa-Nigeria.

Apparently, BuchiEmecheta is associated with Britain because she spent most of her life in Britain.  Worked as a library officer for British Museum in London, youth worker and sociologist for the inner London Education Authority and as well as a community worker.  It is imperative for Africans to comprehend that Mama Emecheta was not a British African as many are already purporting.



To highlight, her trenchant literary work speaks on its own.  BuchiEmecheta although she might be linked with feminist because of her writing which some believe are reflecting feminist views, albeit she do not acquiesce to that.  She would be remembered by saying “I work toward the liberation of women but I’m not feminist.  I’m just a woman.”

Like many early African woman writers such as Miriam Tlali, Bessie Head, Flora Nwapa, Ama Ata Aido, Grace Ogot, Mariama Ba etc.  BuchiEmecheta produced enormous number of exhilarating work of literature.  Her books are on the national curricula of several African countries.  To reckon Buchi Emecheta literary life started when African women writing was not so popular.  However, due to her sterling work as the early pioneer and catalyst of African woman literature, African women literature has been thoroughly recognized. Obvious, she deserved to be commended as the one of the female writer who works tirelessly in promoting African literature.  Her demise has attracted comments from prominent literary pundits like Raphael Mokoena, Tisetso Thiba and Chief  O Bolaji. 

Their riveting comments show explicitly that Buchi Emecheta was international acclaim writer.  Raphael commented that: "Very heart rending, she was a magnificent writer. A born writer...did Africa proud as a young woman in London, writing books upon books. Wonderfully critiqued and celebrated too.   Thiba as well, he eloquently stated that:  She was very powerful indeed. 



Plaintively and excitingly Bolaji added:  BuchiEmecheta, arguably Africa's greatest-ever black (creative)writer, is dead. Her string of superb novels date back to the 1970s...She published over 25 books. Her autobiography, Head above water, is one of the most celebrated in our continent. Although she always wrote in up liftment of the dignity of women and children, she denied being a feminist. Works of hers like The Joys of Motherhood, and Destination Biafra are regarded as literary tour de force. Emecheta died at the age of 72. She inspired many writers, including the prominent SA literary activist and publisher, Charmaine Kolwane.  The topics she covered in her writing include child marriage, life as a single mother, abuse of women and racism in the UK and elsewhere.

It is too gratifying to see prominent African women writers like Buchi Emecheta continue to write to inspired till she departed this world.  Today, African woman writing is very popular and fetching.  We see young African female writers produce thrilling literary work that is congenial.  Africa needs to be proud about female writers like ChimamandaNgoziAdichie, Sefi Atta, Taiye Silas, Veronique Tadjo, Noviolet Bulawayo, Charmaine Kolwane, Jah Rose, MatshidisoTaleng etc.  As we are reeling with sadness over the sombre loss of Mama BuchiEmecheta it is important to constantly remember her and celebrate her astronomical literary works with great glee. May her soul rest in peace!!!     

HENRY OZOGULA ON BOLAJI

OCTOBER. By Zoe Wicomb

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'Mercia Murray is a woman of fifty-two years who has been left.”

Abandoned by her partner in Scotland, where she has been living for twenty-five years, Mercia returns to her homeland of South Africa to find her family overwhelmed by alcoholism and secrets. Poised between her life in Scotland and her life in South Africa, she recollects the past with a keen sense of irony as she searches for some idea of home. In Scotland, her life feels unfamiliar; her apartment sits empty. In South Africa, her only brother is a shell of his former self, pushing her away. And yet in both places she is needed, if only she could understand what for. Plumbing the emotional limbo of a woman who is isolated and torn from her roots, October is a stark and utterly compelling novel about the contemporary experience of an intelligent immigrant, adrift among her memories and facing an uncertain middle age.

With this pitch-perfect story, the "writer of rare brilliance” (The Scotsman) Zoë Wicomb—who received one of the first Donald Windham Sandy M. Campbell Literature Prizes for lifetime achievement—stands to claim her rightful place as one of the preeminent contemporary voices in international fiction.'- blurb

Adieu, South Africa's first Black female novelist

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Miriam Tlali - A Powerful Fascinating Pioneer of African Literature



By M. I Soqaga

It is absolutely gruesome to see early pioneers of African literature departing this world rapidly!  For the past years Africa has been reeling over its literary giants who departed this world, icons like Chinua Achebe, Es’kiaMphahlele, MbuleloMzamane, Grace Ogot, Lauretta Ngcobo, BuchiEmechete and recently Miriam Tlali. 

And now Miriam Tlali has done a very wonderful work as a fervent African writer.  It is important for one to reckon that her literary fame was not an easy achievement.  From the onset since she begin to write, her works were disrupted and thwarted by apartheid in South Africa.  Miriam Tlali is known by her masterpiece-a novel which makes her to be recognized as the first female African writer to write a novel in South Africa.  As things are-we are all aware how she struggled to be published especially her first novel Muriel at Metropolitan which was finally published in 1975 after six years of rejection by white publishers in South Africa.

However, we need to ponder that Miriam Tlali works became famous through incredible sacrifice of critics who ensured that her works are scrutinized.  It is vitally important to comprehend that it is via critics that MriamTlali works flourished worldwide.  Nevertheless this literary genre has been view as problematically nuisance and uninviting obstacle that is advocated by other iconoclastic writers whose interest is to besmirch African literature.  As far as things are, African writers always believe that whatever they produce literary must be automatically being venerated and unanimously celebrated.    

Imperatively, criticism in literature is not something that is preposterous; but its role in literature is to ameliorate literature.  It is absolutely absurd for some people to reject their works to be criticised.  Writers need to appreciate this type of literary genre because its role in literature is graphically significant.  Africa has lot of talented writers and because of being obstinate to literary criticism its writers are not well known in the world.  Miriam Tlali as critic herself will feel dejected if Africa continues to shun out critics in literature.  During her life time she understood the enormous value critics add to promote literature.  Consequentially writers or whoever aches to be part of literature need to be familiar with this type of literary genre.  For instance, in football there are rules and a football player cannot ignore them.  Like a player cannot use a hand to score a goal but instead he/she is anticipated to use a leg, head and so on.

Furthermore, it can be argued as whether what apartheid censorship did especially towards many African writers in South Africa was critical correct to banned their books.     Apartheid censorship was not immersed in literature but its existence was basically racially biased.    Like Miriam Tlali would elaborate that “Oh, I suffered a lot of harassment by the system in South Africa, by the police.  They used to visit my house long after midnight and harass us, with Saracens and Casspirs, fully armed and so on, in their efforts to discourage me from writing.  I wrote a lot about it.  Articles of mine have been printed abroad.  The Index on Censorship printed two lengthy articles of mine where I speak about this kind of harassment and what I was suffering, and about censorship in general against South African writers.” (Reflections: Perspectives on Writing in Post-Apartheid South Africa).  Edited by Rolf Solberg & Malcolm Hacksley, Nelm Interviews Series Number Seven.

Miriam Tlali literary contribution will invariable remainimmortal inspiration to lot of literary aficionados in the world.  Her passionate affection to literature began at the time when she was in school until she was ultimately published.   Her courageous love and unflinching demeanour for literature make her one of the awesome literary giant that the world had ever produced. 


Selected bibliography
·         Muriel at Metropolitan, Johannesburg: Ravan Press, 1975. Longman, 1979.
·         Amandla, South Africa: Vivlia Publishers, 1980, ISBN 978-0869751893.
·         Mihloti, Johannesburg: Skotaville, 1984.
·         Footprints in the Quag, David Philip Publishers, 1989, ISBN 978-0864861269. As Soweto Stories, London: Pandora, 1989.

Further reading
·         BernthLinfors and Reinhard Sander, Twentieth-Century Caribbean and Black African Writers, Detroit: Gale Research, 1996.
·         Derek Attridge and Rosemary Jane Jolly, Writing South Africa: Literature, Apartheid and Democracy 1970 - 1995, Cambridge (UK) and New York: Cambridge University Press (New York), 1998.
·         Christina Cullhed, Grappling with Patriarchies: Narrative Strategies of Resistance in Miriam Tlali's Writings. Doctoral dissertation, 2006. Published by Uppsala University.
·         Sarah Nuttall, "Literature and the Archive: The Biography of Texts", in Carolyn Hamilton (ed.), Refiguring the Archive, Cape Town: David Philip, 2002.

BOOK IMMORTALISES PETRUS "WHITEHEAD" MOLEMELA

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The legendary Ntate Petrus Molemela (South Africa) is dead - the larger-than-life man associated with the Bloemfontein Celtic football club in Mangaung. Before he died, Charley Pitersen wrote a fine, comprehensive work on Dr Molemela...

THE PRIMACY OF THE MOTHER TONGUE

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Mother tongue is the language that every child learn to speak firstly when she/he start to speak besides the household of the Africans that their houses English is their first language and in that case the child will start speak the basics of it like Daddy or Mommy. 

True or not any African person who speaks their mother tongue hundred percent daily or more, they dream in their respective language and see every object in their language before they translate it English. “Former South African President, Nelson Mandela said; If you talk to a man in a language he understands, that goes to his head. If you talk to him in his language, that goes to his heart”.

South African writer, poet and author Tiisetso Thiba took a giant step to write in his mother tongue which is Setswana on his second book titled “Tlhabane Ya Makgowa” and his first book was poetry anthology titled “Let’s Take A Walk Mama”. It is a Setswana novel book that talks about the true story that is happening in various towns and cities but he chosen Rustenburg to be specific.

Indeed, the suave Thiba has found the need to preserve and promote his language because no one will if he doesn’t, besides few they are writing in Setswana too and according to the writers nowadays, their works are mostly written in English and their reasons is to broaden their markets and which will automatically increase the sales as well. But Thiba chosen the path that many are doubtful to choose in terms of their writing careers. 

On 30th April 2017 Tiisetso Thiba took his book to a location of Mothibistad in Kuruman to launch there. Honestly one can say he took a risk because no one recently launched his/her book written in their mother tongue and if someone did he/she needs applaud. He was not sure of how people will respond to the launch, yet it was a roaring success.

Astonishingly the launch was attended by lots of people and they have expressed themselves by saying “they are not used to this kind of the event in their locations but it was really informative one and hope that many writers will emerge after this book launch”. 

Thiba is intending to launch his latest Setswana novel in various places and encourage writers to write in their languages and readers to read more. This beautiful book was launched by Charmza Literary Club in Bloemfontein.

ARROW OF GOD. By Chinua Achebe

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Literature can often puzzle and startle one, including African
literature - the way we receive and criticise books. A good example is
Ghana's world class writer, Ayi Kwei Armah; the literary world keeps
on praising him and his first novel, The beautyful ones are not yet
born. Yet Armah was a young man, still developing, when the book came
out, and critics did not seem to care about his subsequent, better
works over the decades. This seems to be the case too with Achebe,
whose first novel, Things fall apart, is always talked about and
praised. Yet this one, Arrow of God, published many years after Things
fall apart, is in many ways better and more mature than Things fall
apart. Arrow of God is more mature and dense...here Achebe is at his
best, displaying great knowledge of indigenous black characters, and
also the white (imperial agents) characters too. There is a startling
objectivity and detachment that one would not expect from a African
(black) writer. Yet Achebe, like he did in Things fall apart,
brilliantly goes to the heart of Igbo customs and proverbs throughout
this work. The narrative is ultimately tragic of course - as one might
expect.
- H Ozogula

THE MAN DIED: Prison Notes of Wole Soyinka

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It is bizarre to think that a distinguished, world class literary pearl like Soyinka spent years clamped in gaol. But then again, so did other African literary giants like Kofi Awoonor (Ghana), Ngugi (Kenya), Jack Mapanje (Malawi) Mongani Wally Serote (SA) among others. At least Soyinka’s incarceration resulted in this extraordinary book, a work so brilliant that it necessarily invites all sorts of superlatives. The full range of Soyinka’s literary talent and nous is explored in this work, with his patent intellectualism augmenting this memoir – a memoir that one can read over and over again with multiple rewards. Soyinka never hides his disgust and disdain for certain tendencies and personalities, and there are many instances here, perhaps including the “damned casuistic functionaire”. The author’s innate imagination and creativity is “gathered, stirred, skimmed and sieved” (to purloin his own expression here) during his travails behind the bars.  Soyinka has always been a cerebral, metaphorical poet and legions of pertinent examples abound in this work. Memorably, the hapless soul who emits “porcine sounds” whilst cleansing his throat/expectorating early every day: “regurgitating mortar and slag and dung plaster...do you?”
- Eric Malome

THE SECRET LIVES OF BABA SEGI'S WIVES. By Lola Shoneyin

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Lola Shoneyin's book is one of the most successful and most widely read, received in African literary history (never mind African women's literature). This of course indicates that this work is also widely read in the western world. Indeed some observers sneer at facts like this, claiming that such an author is only largely read by "detached whites' overseas", but this is absurd, as tens of thousands of perceptive African readers abound all over the western world anyway.

Shoneyin is a superb writer, often even giving the impression of a tongue in cheek, non-conformist. This book is about polygamy, African polygamy, which might remind one of the late Isidore Okpewho's early classic, The Victims. Here, we have an irresistible mixture of societal intrigue, chicanery, blackmail, gossip and sparkling conversations, as we latch onto the inner workings/travails of a medley of women in particular.

Many a modern African man will express their reservations, and even the "impossibility" of coping with just one woman at home (monogamy), as they claim that many modern women delight in turning their man into a "docile imbecile" - hence younger ones can only grasp at the effrontery of Baba Segi (the polygamist here) who marries 3, 4 women and somehow keeps them in tow, including whenever he deigns to invite any of the wives to share his bed!

Here we vividly experience the gamut of what such women (wives) go through - their daily foibles and experience, the horrors of (child) barrenness, intense, sly competition among women and siblings... The author pulls it all off magnificently.

- Henry Ozogula
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