FAKED TO DEATH. By Dean James

A superb book, but I'd say that anyway, once an imaginative work focuses a lot on the world of writers, books, criticism, literary agents, etc. Yes I love the literary world and the advanced societies where one gets to see the qualitative variety and protagonists; never mind that the book is part of a Mystery series and contains some unsavoury characters.

Like the (lady) literary agent in this book. In my ignorance and naivety (I'm African through and through) I used to think that such agents would be staid, boring, scrupulous, and do everything by the book as it were. I thus winced to be confronted with such a character, elegant but ruthless - utterly without scruples. But on the whole, I enjoyed this book, the introduction to the major writers here, their work, reputation, special fields etc - male and female. I love the way our hero (sleuth) Simon Kirby-jones here applauds the work of the major figures, flattering their egos in the process beside them.

He can be a ruthless critic also, though - although in his own way he tries to be fair to them all, even to a lady "writer" Norah, whose "trashy" work seems endearing in its own way (a lady who sadly is the 2nd victim of the killer in this book). Literary criticism, hey ... here is what our hero thinks about Norah's work after deigning to read it "Norah's ... manuscript was without doubt the single worst piece of utter nothingness I had ever read in my life... if (she) had ever had an original thought in her life, it had died long ago for lack of companionship..." Pity. - Seyi Bakare

THE RIVETING DELICACIES OF AFRICAN LITERATURE!

By Mathibeli George Rampai

Growing up in the dusty streets of Manyetseng, Ladybrand in the then Orange Free State Province (South Africa) wasn't easy. As expected, we grew up without electricity and other basic necessities, and initially without the library and other recreational facilities, just a few open fields where we would hone our football skills late in the afternoon. (That's all we could do as there were no other facilities) As Africans, storytelling has always been part of our culture, during the night; we would sit outside around the cackling woodfire and listen to our maternal grandmother narrating folktales to us. This became a norm to us as there was nothing else to do, as households with Television sets were so few in those days. When I grew older, my mother managed to buy a small radio that worked on batteries. We would sit around the table in a dim candle lit room and listen to the stories on the radio. Or my older brother would sometimes read the stories to us from the magazines like PACE, BONA, and HUISGENOOT (an Afrikaans magazine) that my mother brought along from her white employers in town. Later, when the library was built, we would flock to it out of excitement and curiosity. I would borrow all kind of books, but the ones that got my attention were those of African writers. I remember reading the Sesotho version of The Merchant of Venice, called Mohwebi wa Vernice, the translated version of William Shakespeare's The Merchant of Venice. I was very much impressed by the way Mr. K. E Ntsane translated it. I even asked my teacher to narrate the book in front of the whole class. That's how I developed the love for African literature. While exploring, I came across the books of South African writers like J. J Moiloa, K. P. D Maphalla, K. E Ntsane, Ntate Ngcangca, Thabonyane Mafata, Suzan Sefatsa, Fanie Mokoena and many others. And I also happen to come across the extract of the legendary Nigerian writer, Chinua Achebe's Things Fall Apart. The book is beautifully woven around Okwonko, who deeply believed in the culture and traditional way of doing things. My interest grew and I wanted to know more about other African writers, that's how I came across The African Writers' Series and Pacesetters!

Among them, I can point out writers like Peter Katuliiba, Victor Thorpe, Kalu Okpi, Buchi Emecheta, Mongo Beti, and Rosina Umelo, just to mention a few. Then I came across Omoseyi Bolaji, the Nigerian-born wordsmith, a poet, essayist, playwright, and a novelist. I even had the opportunity of meeting him live, what a nice and very knowledgeable humble man. Among his many books, The people of The Township and Impossible Love left a very indelible mark on me. Later I came across his Tebogo Mokoena Series. The books are about a suave private investigator named Tebogo Mokoena, the first installment, Tebogo Investigates, left many of us gaping and asking for more, hence he came up with many more like Tebogo Fails, Tebogo and The Haka, Tebogo and The Bacchae, Tebogo and the Epithalamion,Tebogo and the Pathologist, and Tebogo and Uriah Heep, and his latest book, Books Bards And Barbs. Wow! A masterpiece, a good work of art!

African Literature is by far growing in leaps and bounds!

* George Rampai is the award winning author of, From Where I Stand

LITERARY PIONEER FLORA NWAPA

This is Lagos and other stories By Flora Nwapa

First published in Nigeria by Tana Press, 1977 First Africa World Press edition 1992 Review by I.M Soqaga

Flora Nwapa is a legend, the first Nigerian female to publish novels - works of quality internationally recognised and lauded. She also wrote sparkling short stories as witness this work. Absolutely, this is a fine and fascinating short story book by female Nigerian African pioneer in literature Ma Flora Nwapa. This is Lagos and other stories comprises many exciting short stories that display a very amusing, didactic, and dire family situations. All the stories in this book are noteworthy, from the first story to the last, this is the literary voyage that Flora Nwapa wants the world to relish with great joy. The Traveller From the outset, it was clear that Mr Musa was up to something. Of course, the chivalry and integrity he evinces especially towards women make him a complete gentleman. However, his approach to women of substance like Bisi is very disappointing, obfuscating and amusing. Like any other man attracted to a women, Musa did all what he could to see that Bisi became close to him and without being impudent she did respond positively to him.Yet Mr Musa delayed being quick to the point. Later he attempted his luck for love twice, unfortunately Bisi remained doggedly and Mr Musa did not appreciate her unkindness. This is Lagos Like elsewhere in the big cities of Africa, Africans will show a different type of behaviour and lifestyle that is totally opposite to pristine village one. Though Africa is free, many people constantly admire big cities and regard them as white man utopia, a place where individual clan remains an irrelevant pride to boast about. This is what we read about from the story; a young pretty charming Soha became part of the family of Mama Eze who is her niece. By the time she arrived at Mama Eze's house in Lagos, Soha was an exciting nifty lass. Her presence in Mama Eze's house brought a sense of relief, comfort and joy. She was a girl of twenty who got a teaching job in Lagos, alas things started to change and she easily forgot invaluable early injunctions from her mother on the eve of her departure to Lagos when she said to her “They say Lagos men do not just chase women, they snatch them. So my daughter be careful." Astonishingly, by the time Soha started to know Lagos men, what she could only recall from her mother was she should never show a man that she was anxious about him. Nothing can extinguish a newlyblazing love even if there are warnings; this is what Soha did, changing suddenly from being a polite, obedient, caring young girl. Beforehand, Mama Eze suspected her when she started behaving unusually. Subsequently, she told her aunt that she wanted to move out and live in the hostel citing that she wants to start reading again. Bisi who was a neighbour of Mama Eze when she heard about what Soha said to her aunt, she commented “Do you know the kind of girls who live in that hostel at Ajagba Street? Rotten girls who will never marry. No man will bring them into his home and call them wives.” Jide’s Story You can ask again when it comes to marriage what is really expected from men and women. Immediately after they get married, they are mutually bound by the rules of marriage. But here we find that Jide constantly bothered himself with questions as to whether his wife is faithful to their marriage. Such kind of question was simply influenced by his act of unfaithfulness to his wife when he met Maria in the boat. Since he met with Maria, he kept on thinking about his wife who was working overseas. Essentially in following the story you will notice that Jide's wife is never being mentioned as cheating, safe Jide alone. Jide is unambiguously portrayed as a man who does not want to take responsibility in his marriage; this was evident when he met with Maria. His character too did show that he was not a man of his words when it comes to woman he preferred to love. From his remembrance when he was charmed by Maria he would state “All the qualities she possessed, including her make-up were what I told my wife I abhorred in women. And here was I. Jide would enjoy life by drinking and sleeping with women while his wife is absent. Probably distance-marriage contributed to his hysterical demeanour. The Road to Benin It ultimately is glaringly doleful when poor parents working hard for their children to have a brighter and better future in their lives and on the verge of success something revolting would unfortunately wreak havoc to their dreams which they have for their children. Emphatically it is what we read from the story, Nwanyimma's son early efforts and later awesome achievements were graceless. It was obviously abstrusely disappointing to see Ezeka ending up being a prodigal son. Of course the reader will firstly be spurred when they read at how Nwanyimma's son did incredibly well in school, secondly, the bracing news about his scholarship, thirdly the excitement and joy by his parents and the neighbours over Ezeka's achievement. Fourthly, the reader will be flummoxed by Ezeka's strange attitude which started to develop later; he began to drink alcohol, asking his mother to buy beer for his friends and he became a drug addict. Suddenly he disappeared and his trails were finally traceable and found in Benin prison. So many stories in the book are shocking and they explain how real life unravels sometimes, by reading another story about marriage “The Child Thief” a reader will feel very sympathetic for Agnes who when she was at school was having different boyfriends, it happened by the time she got married that she was unable to have children. Her marriage life was not stable, her husband decided to have children with another woman and Agnes finds herself without any other alternative but to accept her husband's behaviour. For many times she avoided her mother’s advice that she must consider consulting the native doctor, finally she conceded, and she consulted the native doctor. Again, the native doctor never reinvigorated her married life as she was unable to have children until she stole the baby in the hospital! The writer would again reveal traditional customs of African people in the story “The Delinquent Adult.” Eventually after Ozoemena's husband died untimely, predicament of life started to affect Ozoemena egregiously. For her to survive she pondered to go back to school again because she was still young. To her mother the idea of returning to school was not immaculate. Ozoemena although she did not regret to be married when she was a schoolgirl, she could still remember advice from her teacher and her schoolmates about the disadvantages of being married when she was young. Nevertheless, she remained plucky about her decision to accept to be married when she was still young because her husband was perfectly good to her. Consequentially she was brilliant at school. Ozoemena's mother in realizing how difficult life would be for her daughter, she eventually intervened. Specifically, her intervention was unscrupulous. But to her it was about to rescue her daughter from ludicrous tradition. Beforehand she experienced the same treatment from her late husband family because the tradition dictated that the family of the husband will propose nauseating demands to her daughter, eg to marry the late brother of her late husband or surrender her husband's property and bag of money. That’s why Ozoemena mother resolved to be a solace to her daughter against this putrid tradition that denied women to control their husband's property after their death. She too knows how abysmal it is after her husband's death, that the husband family will propose that you must allow to be married by your husband brother, surrender her husband's bag of money etc.

As we read the book by Flora Nwapa we can see that the book touches on real aspects of life which are not immune from human existence, the story ranges from lust, love, plight of marriage life, African beliefs, poverty, disobedient children, alcohol and drugs abuse by children and so many issues that are relevant to real life situation. But how is Lagos? Is it really dangerous or lively? Specifically the reader will find out about the real Lagos when reading this enchanting book by Ma Flora Nwapa. Succinctly in the story when Ezeka and Tunde were busy dancing in the story “The Loss of Eze” the writer reveals something interesting by mentioning the original Lagos name “Eko” of the Yorubas' : ‘Where is home?’ ‘Can you guess!’ ‘Ibadan?’ ‘No. Guess again.’ ‘Abeokuta? Ijebu?’ ‘No, I am not from Ijebu. I am from Ado-Ekiti,’ he said. ‘Yes, up-country. Eko people make fun of us. They say we are bush people, uncivilised."...

CHINUA ACHEBE. By Ezenwa-Ohaeto

It is heart breaking that the author (biographer) brilliant poet, academic, et al died prematurely; but at least he left behind some brilliant works, none more important than this masterpiece of a biography on Chinua Achebe.

Yes, Achebe, regarded by most as the greatest ever novelist to come from Africa. His novel, Things Fall Apart enthralled the world and sold in millions. Achebe, during his lifetime was celebrated and honoured globally. Many would love to read about his life and the author surpasses himself in this book, a real labour of love, intensely satisfying in every respect. We read about Achebe since when he is a child, growing, developing, writing his profound works gradually over the years; the internecine Nigerian civil war is not neglected, and the role Achebe played at this torrid time, and much more. We really get to know Achebe, through his childhood friends, his colleagues at the College and University, western acquaintances and scholars, a great deal of them who wrote about him and his work et al. This book augments one's historical knowledge and perspectives too; detailing how Nigeria found itself in its perfervid status, the people, ethnic make- up and nuances, the advent of the military into the politics of the country, the civil war and a lot more.

Achebe the man is not left out; we learn about how he met his wife Christy, how the romance unfolded, including the (then) kids, the inconveniences and horrors during the civil war ...and the terrible accident Achebe had that confined him to a wheelchair. But through it all Achebe wrote, and the world sat up and noticed. Within less than 10 years he had already published four world class novels, and he was still quite young at the time. All this and much more is recorded here, including comprehensive and superb references ...

MOLARA OGUNDIPE LESLIE

Come to think of it, Africa has produced many remarkable female literary critics and academics over the decades - like Ama Ata Aidoo (Ghana), Assia Djebar (Algeria), Menan Du Plessis, Zoe Wicomb (both South Africans) ... Nigeria's Molara Ogundipe Leslie, like Aidoo, was one of the Black women literary pioneers from west Africa. Leslie contributed a lot to the growth and promotion of African literature, from inception. She appreciated the early established African wordsmiths - males - but was never afraid to criticise them. She had early respect (her writings reveal this) for the greats like Wole Soyinka and Ayi Kwei Armah, but if she felt they should be censored, she did so in her earnest manner. Hence if she found some aspects distasteful in their disparate writings, she would pount this out, be it suggestions of "chauvinism" or "narcissism". In her many critical essays her intellectualism and nous stood out, with the broad canvas and striations all grist to her mill. Omolara Leslie's style of writing/criticism was direct, lucid and passionate. And well researched. Her message and thrust was delivered quite simply and made a lot of sense. She knew what she was all about and essentially basked in the writings of assorted writers and books. Early on, Leslie began to write splendid reviews for journals and magazines, including Okike from the early 70s. It was clear that she could not stand women being undermined. Her books are also a testament to her. She was born in Lagos, and attended Queen's School, Ede, and went on to become the first woman to obtain a first-class BA Honours degree in English at University College, Ibadan, then a college of the University of London. She also studied at Leiden University which has extensive studies/material on African Writing. She became a globally recognised scholar and writer. As a scholar, critic, educator and activist, Ogundipe is of course recognized as one of the most prominent and innovative writers on African women and feminism. Her works creatively capture most the nuances and complexities of African life. She died in 2019. Published works Sew the Old Days and Other Poems, 1985 Re-Creating Ourselves: African Women and Critical Transformations, 1994 (ed.) Women as Oral Artists, 1994 (ed. with Carole Boyce Davies) Moving Beyond Boundaries, April 1995 (two volumes). Gender and subjectivity. Readings of "Song of Lawino". Dissertation Leiden University. Leiden, CNWS, 1999

AFRICA HARVESTS THE NOBEL AWARD FOR LITERATURE

It's  been a long wait. Since Wole Soyinka won the Nobel Award in Literature in 1986, it seemed the prestigious diadem would continue to elude Africa and its Black writers. But now it's back!

Now, Abdulrazak Gurnah of Tanzania has been announced as the winner of the gong for this year. He might not be as well known in his native continent like Achebe, Ngugi, Armah, Adichie etc, but his body of writings stand as a monument...

An academic and (mainly) a novelist who migrated to the UK many decades ago, Gurnah s works are regarded as top notch especially in Eurocentric circles, having published formidable novels like Paradise, and Afterlife

Raphael Mokoena, literary aficionado says: "One is naturally happy with this development - another Black wins the Nobel Award for Literature ... but to be honest, the whole picture and scenario looks pretty grim. Whether based in Africa, Europe or America, only 3 authentic blacks have won the Nobel Award for writing over the decades! Till date, so many wonder why Achebe never won it... and why hasn't Ngugi of Kenya been announced as a much deserved winner? But kudos to Gurnah."

The Nobel Committee in its terse manner lauded Gurnah: "for his uncompromising and compassionate penetration of the effects of colonialism and the fates of the refugee in the gulf between cultures and continents''

Major Books by Abdulrazak Gurnah

Memory of Departure (1987)

Pilgrims Way (1988)

Dottie (1990)

Paradise (1994)

Admiring Silence (1996)

By the Sea (2001)

Desertion (2005)

The Last Gift (2011)

Gravel Heart (2017)

Afterlives (2020)

HORROR FOR BELEAGUERED FEMALES

  Surviving John Vorster Square Film

Surviving John Vorster Square Film is a vivid description of how the apartheid security police treated women political detainees. Surviving John Vorster Square is a 120-minute documentary film about the life stories and ordeals of a group of female former political detainees who were held at the notorious John Vorster Square apartheid police office in Johannesburg in the 1970s and 1980s.

It was premiered at the constitutional Hill in Johannesburg this week(Monday). Mmagauta Molefe is a producer of the film which started as self financed and later supported by the National Film and Video Foundation. The narration and testimony account of the participants remains a viewer about an episode when Chekhov was a young aspiring writer. He went to the great Tolstoy for advice. Tolstoy showed him a horse and a cart that passed by his house every morning and asked Chekhov to write about it in such a way that when he read his piece he'd feel he's reading about the cart and horse that he showed him. Chekhov made many attempts which Tolstoy rejected until a final piece which Tolstoy accepted for, he said, it was about the horse and cart that passed by his house every day and no other. 

The eleven cast members in the film; Mmagauta Molefe, Nomakhaya Mafuna Sibongile Mkhabela, Unjinee Poonam, Daphne Koza, Deborah Matshobs, Joyce Dipale Maleshane Mokoena, Pearl Luthuli, Elizabeth Abrahams; are talking about the pain with vividness, specifity and clarity. Molefe broke down in the film as she re-tell her ordeal as how she got miscarriage after a severe torture in the hands of apartheid police.

Dipale shows how she suffered electric shocks on her naked breasts, buttocks and genitals to force information from her about her political activities in the resistance movement. Also, Dipale says she was a target of apartheid death squads in exile. The struggle veterans talk of how the black consciousness philosophy shaped their lifes and their thinking. 

Nakedi Ribane, actress and political activist commented the following after the film: "It is is good that everything thing is coming out raw as it is with apology. A was arrested and tortured at the University of Zululand for my involvement in the politics of black consciousness. The torture chamber and every thing must be depicted in the film." 

Molefe Pheto, veteran black consciousness activist and filmmaker who created the visual storytelling and curated soundtrack of the film hailed the bravery of the women. Pheto said the importance of the film is a black woman and produced it and it is raw, adding that this fact is most welcome.

 

 

BECKONED TO SERVE. By Shehu Shagari

 

"I was determined to carry out that mandate to the best if my ability and strictly in accordance with the spirit of my oath of office without fear or favour. I was fully prepared and equipped for the job since I felt i had developed sufficient  experience in the job and had already learnt my lessons...I felt that...I must put the benefit of my long standing experience in government into practice in order to make the presidential system  of govt that we had chosen for ourselves the success that it deserved to be. I already had behind me some 25 years ( 1958 to 1983) of service as a cabinet member of federal govts, federal state and local govts and now as the first Executive President of Nigeria for four years..."

 

So writes Shehu Shagari in this remarkable world class autobiography - that ideally every Nigerian should read - and learn a lot from. A historical sociological treasure trove.

No doubt the author was much misunderstood during his lifetime especially re his stewardship as Nigeria's first Executive President. He and his party - the NPN were easily re elected but the Nigerian army put the skids in his administration. Thereafter Shagari was incarcerated, put under house arrest for years.

He of course was not happy about this and believes so many people who should have known better trued to run him down, or even betrayed him. As he writes here: "One of the biggest disappointments of my life was the discovery, somewhat belatedly that MOST OF THE PEOPLE I TRUSTED ARE NOT IN FACT WORTHY OF THE TRUST"

It was the Gen Olusegun Obasanjo military regime that handed over power to Shagari and his party. This book shows the author respects Obasanjo a lot but was uneasy about some aspects in regards the ex Head of State.  (Obasanjo himself admitted that he voted for Shagari as President). Here is what Shagari writes in this work:

"Yet for some strange reasons this soldier-statesman (Obasanjo) had developed some kind of deep malevolence for me, despite the very high regard and respect I have always had for him, as was demonstrated by the highest national honour I awarded him and which I still believe he richly deserved..."

Alhaji Shehu Shagari, veritable nationalist and patriot, died in 2018. Great man of Integrity and Peace.

MAJOR C. K. NZEOGWU. By Okeleke Peter Nzeogwu

 

This book focuses on the life and times of C.k Nzeogwu usually stated to be the living spirit behind the first military coup in Nigeria.

Yet looking back on it (as clear from this book written by his own little brother) Nzeogwu was a rather strange, startling personality. For example, he was still very young when the coup took place, he was less than 30 years old!

His focus was such that he even avoided women, abstaining from sex, and marriage. Consider it: a young man, comfortable, with a car, single, yet not getting involved with women! He seemed obsessed only with real change, "revolution" in his society.

His "strangeness" was obvious even as a kid, a young schoolboy. He abhorred injustice, tyranny so much, that he even hit (punched) his own father who was giving his (Nzeogwu’s) sister a good spanking!

Nzeogwu would die very young (before 30) yet he was responsible enough to help his parents, siblings etc and put them on the path to self-subsistence before he died. The testimony of the author here (kid brother of Nzeogwu) shows that despite being an enigma, he loved and took care of his siblings with striking generosity. 

For example, Nzeogwu provided whole full chickens for his younger siblings upon a visit to him at his residence.  He pulled out all the stops to ensure that they would have a good start in life.

In the end Nzeogwu a very controversial figure till date, died again under mysterious circumstances. But the man and his family became revered and respected by many. In this book eg the author pays tribute to Gen Obasanjo, Tai Solarin for their love for the Nzeogwus.

All in all - as is also obvious from this book - C. K Nzeogwu was a selfless, intrepid nationalist and revolutionary. He has rightly gone down in Nigerian, African history.

- Henry Ozogula

Nineteen Eighty Four. By George Orwell

OK let us start with a cliche: this is one of the most celebrated, classic works in ‘eurocentric’ literary history .... so we might infer from this that I am a "proud African" who nevertheless appreciates international literature.

1984 is something of a nightmare, over 70 years after its initial publication; not even in the heart of Africa can one envisage such totalitarianism - actually Africans generally celebrate life, jollity, fecundity et al... people are much too concerned with their own blissful exuberance (especially those at the top) rather than worry about the ordinary man's behaviour, thoughts, and predilections. 'Yes-men' hold sway, but that suits all the parties, quand meme!

But yet one squirms upon re-reading this work, a very grim scenario where everything sad, dismal and restrictive holds sway. As our main protagonist Winston Smith makes clear:

"...Already we know almost literally nothing about the Revolution and the years before the Revolution. Every record has been destroyed or falsified, every book has been re-written, every picture has been re-painted, every statue and street and building has been renamed, every date has been altered. And that process is continuing day by day and minute by minute. History has stopped. Nothing exists except an endless present in which the Party is always right..."

And what concerns the powers that be with private love interests, affairs, and such manifestations? Yet Big Brother ensures that such a thing (relationships) which even now we take for granted in every society is part of the horror story. No wonder our main female protagonist here too is an embodiment of palpable despair, cynicism and frustration, as we read: "Julia was 26 years old. She lived in a hostel with 30 other girls ('Always in the stink of women! How I hate women!' She said parenthetically). ..

Both Julia and Smith suffer in transcendent fashion (though the focus is on Mr. Smith.). He is tortured, de-humanised and brainwashed to the extent that it has become an egregious ordeal for one to re-read this book. What is the point of it all?

Since we know that no matter what, Winston Smith will lose it all. The inevitable bullet awaits and Smith himself is very much aware of this. Yet when at the end we read, nauseatingly, "... the struggle was finished. He had won the victory over himself. He loved Big Brother "... we await the goddamn bullet for ourselves- Malome Eric

ISKA. By Cyprian Ekwensi

 

"There is something in your life which moves - like wind.  Blows across everything. Like wind. Shifts, like sand ... You have to be careful ..."

 A Mallam, on the fate of Filia 

 The story of the life of a young woman, Filia, a girl brought up in a convent, with some tragedies in her life. Initially she is in love with a young man, Dan Kaybi. In fact they are very briefly married.

 Filia is meretriciously strict in relationships, it is not easy for her to fall for just any man. As she says:

 "I like men who are modern. I like men who do things. I like men who are elegant and civilised, not just those who think their money can buy me"

 But it is not easy to identify with her ideals, or the men she chooses, or her general mien, especially when she begins to live and blossom in Lagos. Like how she suddenly succumbs to Rayimi, who is quite bluntly a cheap, callow irritating thug. It is a brief improbable affair, but as they are together, we are startled to suddenly read:

 "She slipped on a rubber girdle and sat for a moment smoking. She smoked fifteen cigarettes and drank half a bottle of brandy...". Is this the same convent girl still relatively fresh in Lagos? OK, ex-convent girl then!

 We are startled again when Filia suddenly goes to the much older Gadson’s office to seduce him. There is nothing earlier on to suggest that she even likes him. And yet again she says to him:

 "Gadson, you know I love you. And I know you love me. It is useless fighting your desires". Incredible.

When we are introduced to Dapo Ladele, we come across a shockingly disgusting, twisted character. Dapo first comes across as a somewhat charismatic young journalist - a shameless hack really - but soon we learn fully what he is all about. As he himself admits: "I work for money, Filia.Not for conscience. Why must I be the one to show conscience?"

But the tragedy of Dapo the young man is the tragedy of Nigeria and Africa as a whole. The paucity of young men of integrity and positive values. And yes, hordes of women continue to fall for such worthless ‘gentlemen’.

The finale of the book is sad and haunting as our Filia dies very young; yet it is far from convincing.  Is it necessary that Filia should die do young?  It is almost as if the author wants to force her demise on us to fit in with the "Iska" theme and title of this work.

 On the whole, a very readable book written by one of Africa's outstanding writers.

Celebrating Joe Thloloe

 

On April 10 (2021) a tiny knot of journalists, mostly those who have retired and a sprinkling of young ones met in Soweto to pay homage to one of their own, the revered South African wordsmith, Joe Nong Thloloe. The setting was the 16 June Memorial Acre in White City Jabavu although some residents of Central Western Jabavu claim this historic piece of real estate is in their township.

Thloloe has warded off the ageing process rather well. He is turning 79 in a few months but does not look much different from the individual I met nearly fifty years ago as a rookie journalist, in 1973 to be precise.

Many of those journalists who started out with him are no more. Contemporaries that readily come to mind are Aggrey Klaaste, Juby Mayet and those who were a few years older such as Stan Motjuwadi and Casey Motsisi.

Thloloe straddles many generations in the history of black journalism in this country. He came towards the tail end of Drum magazine’s golden era. Then he Hushered some of us and the likes of Willie Bokala, Maud Motanyane, Pearl Luthuli, the late Ruth Bhengu, Duma Ndlovu and too many to mention at the height of Black Consciousness.

When the SABC was forced to cast off its function as a propaganda machinery of the National Party, Thloloe was among a team head hunted to ring in changes within this institution which plays a critical role in shaping public opinion.

He entered the profession at a time when the era immortalised by iconic figures like Henry Nxumalo, Can Themba and symbolised by the destruction of Sophiatown was coming to an end.This was the era of Drum magazine. Nxumalo had been killed several years earlier. Themba had quit journalism to take up teaching in Swaziland now Eswatini. Others had sought greener pastures abroad.

When Thloloe immersed himself fully in journalism the political landscape on the continent had changed 360 degrees. The winds of change were sweeping throughout from Morocco to Madagascar. Apartheid police became even more vicious culminating in the Sharpeville and Langa massacres on March 21.

On that fateful day on March 21 1960, 18 years old Thloloe was part of those who marched with the Pan Africanist Congress leaders including Robert MangalisoSobukwe in a historic protest march against the Pass Laws. These laws ignominously compelled African males over 16 years to carry on their persons all the time an identity document specific to Africans only. Failure to produce such a document was a criminal offence.

The March 21 anti Pass campaign marked the turning point in the politics of South Africa. In the wake of the Sharpeville and Langa massacres, Pretoria went a step further by outlawing the less than one year old PAC and the much older African National Congress. The politics of deputations and pleadings with the latter day pharaohs had come to an end.

Both the PAC and ANC embarked on the armed struggle, the PAC in particular orchestrated the expulsion of South Africa from the United Nations and the country became a pariah in most parts of the world. For his participation in the March 21 campaign Thloloe earned himself a spell in prison.

Imprisonment was to scar his life intermittently for almost the next thirty years until the unbanning of political parties in 1990. His second spell in prison came in 1976 when he was detained for four months. Typical of the times, he was not given reasons for his incarceration. As his colleagues, we knew why. His sin was being a journalist and leader of our union, the Union of Black Journalists. He was also a good and bloody stubborn journalist. Being a good journalist and known but hard to proof PAC connections was too potent a brew the Boers could not stomach. Hence the arbitrary detentions.

The following year he was detained for an even longer stretch 18 months. He was held under the so called Terrorism Act of 1967. If the security police hoped to break him with torture – he says there were occasions when they so viciously tortured him that he cried – they were wasting their time. He is as tough as nailshareds. He once told me how as a teenager his mother often despaired in trying to discipline him and in exasperation would shout unenkaniyeselesele. This is the sort of stubbornness that even those security police sadists, trained in all the techniques of inflicting pain could not subdue. He was banned for three years in 1981, then jailed between 1982 – 1984.

A former colleague Phil Mtimkulu says of Thloloe  ‘ I have lost count the number of times this guy was detained. In those days if I had not seen him for a stretch of time I knew he was arrested’, a sentiment echoed by fellow ex journalist and, friend ThamiMazwai.

As speaker after speaker shared fond memories of their interaction over the years with this towering Pan Africanist, it was, I think Oupa Ngwenya who summed up the true character of the man of the occasion when he said of him ‘In all the years we were colleagues at Sowetan, I don’t recall Bra Joe showing his struggle credentials or even shouting the PAC slogan of Izwelethu.

The April 10 gathering was a stirring celebration of a very modest but towering figure in politics, but largely journalism

- Mpikeleni Duma (Johannesburg)

K. P. D MAPHALLA DIES !

  ... Legendary Sesotho Writer Gives up the Ghost

The literary world is in mourning after the news broke that legendary
Sesotho (South Africa) writer, K. P. D Maphalla, is dead. The pertinent
tributes keep on cascading with gusto.

As Wikipedia succinctly states: ‘Kgotso Pieter David (K.P.D.) Maphalla
(born 1955, South Africa) is a writer in the Sesotho language. An author of more than 40 books, Maphalla has received an honorary
doctorate from the University of the Free State, as well as a Lifetime
Achievement Award in Literature.
Amongst his many books (not to mention radio plays,) are the
following: Tahleho (drama); Tshiu tseo (novel); Kabelwamanong
(detective novel); Botsang lebitla (novel); Tsie lala (poetry);
Mahohodi (poetry); Dikano (poetry); Ditema (poetry); Fuba sa ka
(poetry); Kgapha tsa ka (poetry); Seitebatso (poetry); Sentebale
(poetry); A tale of two fathers (English novel); Mohlomong Hosane
(essays/short stories); Bashemane ba Dibataolong (novel).’

Indeed, one of Maphalla’s most popular books is Kabelwamanong, which has been lauded thus:

‘An action packed adventure that begins when a young cop, Tsheolo and
his two friends are hijacked and kidnapped. Their militant and
ruthless captors were from the neighboring country of Kgaphadiolo .
The intention was to use the three as Trojan horses against their own
country of Tsekanatsatsi. Tsheolo's friends do not come out alive.
Circumstances reduce Tsheolo to a refugee who is forced to do whatever
it takes in attempt to survive and to escape from that foreign land
(courtesy Puleng Hopper)

Pule Lechesa, South African author and critic who as a youngster and beyond was positively influenced by the prodigious works of Maphalla, said: 'It's the end of an era, a horrific loss. Maphalla was world class, consummately fecund,
vibrant and prolific. This hurts...in profound fashion,'

Lechesa has also authored a cardinal study (book) on Maphalla titled The
Awesome Literary Legacy of Dr KPD Maphalla . Here is how Google
Books describes the work: 'One thing that often depresses me about
African literature is that the works of many of its outstanding writers are completely unknown to the majority of readers in the continent especially when the writer puts pen to paper only in his or
her mother tongue. Eg how would Chinua Achebe’s name or works be known all over Africa and the world if he wrote only in his own Igbo language? I never knew anything about the writer, Dr Maphalla, until I saw and read this book (Maphalla writes in a South African language). But thanks to this superb study on Maphalla by the author Pule Lechesa, I now fully realise that Maphalla is one of Africa's greatest writers,’


SELECTED BIBLIOGRAPHY

Botsang lebitla by K. P. D Maphalla

Kgapha tsa ka by K. P. D Maphalla

Mahohodi by K. P. D Maphalla

Fuba sa ka by K. P. D Maphalla

Tahleho by K. P. D Maphalla

Tshiu tseo by K. P. D Maphalla

Kabelwamanong by K. P. D Maphalla

A tale of two fathers by K. P. D Maphalla

Ntekeletsane by K. P. D Maphalla

Dikano by K. P. D Maphalla( Book )

AFRICAN WRITERS ON AFRICAN WRITING. By G. D Killam

An early, fascinating, revealing book focusing on African Literature. The title itself says it all - virtually all the outstanding early African writers by the early 70s, are touched upon here.

These writers include Chinua Achebe, Ayi Kwei Armah, Camara Laye, Es'kia Mphahlele, Lewis Nkosi, Ngugi wa Thiong'o, JP Clark, Okara, Ousmane, and even Nadine Gordimer of South Africa.

Many - or most of these superb writers are deceased now, but their great works live on - eg Achebe, Okara, Laye. How poignant it is now to be reading the thoughts and inspiration of the then young writers like Camara Laye, Achebe himself, Sembene Ousmane, and many others.

Decades ago, Armah's first superb novel, The beautyful ones are not yet born, came out and somewhat shocked the world. Here we read the review and early impressions of Ama Atta Aidoo in this book... Aidoo herself is one of the great early African female writers.

The essays here are generally polished, informative and illuminating - Achebe has at least three essays published here, and I was particularly impressed with how perceptive and (fairly) critical David Rubadiri was even in those days decades ago.

Lewis Nkosi (now deceased) had a reputation - since he was a young man - of being an acerbic though informed literary critic. In his essay here on SA Black writers, he hardly praises them, in fact he seems to dismiss most of them. Even the all time great Es'kia Mphahlele is not spared. I winced e.g when I read Lewis' "introduction" to Mphahlele as a writer in this book:

"In the past what had always put me off Mphahlele' s writing was a certain dullness of tone, much like the ponderous speech of a dull-witted person, so that it was often difficult to pursue the story to its ending. The gems were often embedded in a thick mud of cliche and lustreless writing ... Ezekiel would reflect in (a) clumsy manner..."

Literary fireworks

- Raphael Mokoena