Monday, October 3, 2016

Don't Miss the BHHT/Diamond Educational Publishers Publishing Seminar!!

The Bessie Head Heritage Trust (BHHT) /Diamond Educational Publishers Publishing Seminar is on Saturday, 15 October 2016, University of Botswana Block 252, Lecture Theatre 4
9:00 a.m. to 4:45 p.m. 
It is FREE and open to the public. Teas are provided, make your own arrangements for lunch. Please share widely, this should not be missed if you are interested in getting your work published. 
Below please see the programme for the day:  

Session I:  
 Preparing your Manuscript for Publication
                    Mary Lederer
Session II
                    Publishing Options
                    Lauri Kubuitsile


 Session III
                    Your Rights as a Writer
                    Lauri Kubuitsile


Session IV
                    A Publisher’s Responsibilities
                    Goememang Mogapi, Diamond Educational Publishers

See you there!!!!

Monday, September 26, 2016

African Writers You Should Know: Zukiswa Wanner

Photo credit: Fungai Machirori

Zukiswa Wanner is a South African writer who was born in Zambia to a South African father and Zimbabwean mother and now makes her home in Nairobi. Her novels include The Madams, Men of the South, Behind Every Successful Man, and her most recent, London Cape Town Joburg, which won the K Sello Duiker Prize.  

She’s also written two children’s books: Jama Loves Bananas and Refilwe. She is active in numerous Pan-African writing initiatives including being on the board of Writivism, a judge for the Etisalat Prize, and a judge for our very own Bessie Head Short Story Prize for two years in a row.

She is one of Africa39, a list of African writers under 40 years of age who the Hay Festival organisers believe have talent and potential to define the trends of literature from the continent. I was happy to have a chance to ask her a few questions about her career and her activism on behalf of African literature.

Me: I read  that you purposefully choose the point of view of characters who are not like you. Can we write about people who are not like us? When does it become cultural appropriation? Is there anything like cultural appropriation for writers?

Zukiswa: Look at you starting with the difficult questions.  I think there can be cultural appropriation if writers in particular and artists in general fail to do due diligence and have enough research on their work of art. My little thing is that I tend to seek, among my readers when the book is still a first draft, at least three people who may have similarities or be familiar with the background of my character so I get that little edge in where authenticity is concerned. That said, it amuses me no end how social realism, as a fiction genre, always requires one to be more realistic than creative nonfiction.

Me: Are you the human definition of the Pan Africanism? Is that important to you?

Zukiswa: I probably need to stay in Brazil before I can be the human definition of a pan-African but yes, as a social observer, it is pretty important to me. The downside is that in some ways, I am always an outsider-looking in but it’s also very much the upside because all these countries have been generous enough to allow me certain intimacies with them that are not often given outsiders.

Me: You are active in writing initiatives around the continent, why do you think such initiatives are so important?

Zukiswa: I recently did a keynote at the Fourth Writivism Literary Festival and I explained why I feel these initiatives are important. In short, I think given the space that we are in as writers in Africa, our literary landscape has never been as fruitful as it is now. For that reason, we need to ensure that those of us with voices let others know about the exciting works that are coming from here. When other writers win, all writers win and the continent wins. Because more readers means more people who question. It is that simple to me.

Me: Do African writers have to be published overseas to be considered a success?

Zukiswa: I think this has been the case for a long time but this is changing. I know book clubs that I introduced some books published on this continent to and they loved them so much they now read African-published literature frequently.

Me: In a perfect world what would your writing career look like?

Zukiswa: I think it would look mostly like it does now but with a monthly salary for my bills because someone would have recognised that what I do is work. I know Lorenzo and Catherine de Medeci, less as members of the Florentine ruling family and more for being patrons of the arts... maybe this is something our African billionaires and gazillionaires should think of (sends a message out to the universe that Dangote, Motsepe and co read this). Their legacy would live forever. It saddens me that Miles Morland is doing something that African philanthropists should be doing with his grant. And that none of them have seen why it’s necessary that they have something similar or better.

Me:  What one thing could our publishers on the continent do to make our lives as writers living and writing here easier and more lucrative?

Zukiswa: There still needs to be better work done by publishers on the African continent on editing (some books have atrocious editing) and distribution. It breaks my heart that it is still easier to get a book that is published in the United Kingdom when one stays in Kenya than getting one published in Uganda or Tanzania which are neighbouring countries. They need to do better on this because, no matter how well-written the books are, so long as readers in different African countries do not have access to them, African writers published on the continent may as well not be writing.

Me: What are you working on at the moment?
A travel memoir and a historical fiction novel.

(This first appeared in my column, It's All Write, in the 23 Sept. edition of Mmegi newspaper)

Tuesday, September 6, 2016

I'm off to Open Book Festival in Cape Town!!

Tomorrow I leave for Cape Town to attend the Open Book Festival to talk about my latest novel, The Scattering. I'll be on three panels and if you're in Cape Town I'd love to meet you!

The panels I'm on are:

Thursday (8 Sept)  2 pm at Annexe 1:
Topic: Switching Courses: 
Lauri Kubuitsile, Bronwyn Law-Viljoen and Michela Wrong discuss the difficult choices they force on their  characters. It will be chaired by Yewande Omotoso

Saturday (10 Sept) 10 am at Book Lounge
Topic: Writing Colonialism
Lauri Kubuitsile and Kim Leine reflect on the brutality of colonialism at opposite ends of the world. Chaired by Bongani Kona.

Sunday (11 Sept) 2 pm at HCC Workshop
Topic: In the Crossfire
Dianne Case, Nadia Hashimi and Lauri Kubuitsile explore the position of women in conflicts through the lens of personal narrative. Chaired by Palesa Morudu

Hope to see you there!!

Friday, September 2, 2016

Review of Scars on my Skin

Nina Simone said in an interview that, “You can't help it. An artist's duty, as far as I'm concerned, is to reflect the times”. I think Namibian poet, activist, community worker, and performer Keamogetsi J. Molapong takes these words to heart. In the 1980s when he started writing poetry, he protested against the South African apartheid system that cruelly controlled Namibia. Now his poetry is about the corruption of the new elite and the gap between rich and poor, though he still finds time for the occasional love poem.

The Scars On My Skin is Molapong’s second poetry collection, his first, Come Talk Your Heart was published in 2005. The title of The Scars on my Skin stems from the idea that every scar has a story to tell.

Molapong is a well-seasoned poet. He has performed on stages around Namibia as well as at both the 1st and the 2nd SADC Poetry Festivals held in Gaborone and Windhoek. He performed in Durban at the 11th Poetry Afrika Festival,  in Germany at the Poesie Berlin Festival and at the Ba Re E Ne Re Poetry Festival in Lesotho.  The Scars On My Skin was adapted into a play directed by Aldo Behreng and performed during last year’s Bank Windhoek Arts Festival.

Scars On My Skin includes many poems about the ruling elite who seem to have forgotten where they come from and instead are blinded by greed. Fake Money is a biting indictment of these people in power; it could easily apply to our situation in Botswana too:

They eat the economy
And talk of democracy
As if their lives meant
Anything to the poor
And sleeping masses
They…they have
Their skies of no limits
We…we have
The measurements
To dig our own graves
We cannot afford.

Molapong knows the way poverty is used to keep the masses at the mercy of the elite, he does not shy away from speaking the truth. In his poem Poverty he writes:

…Being poor is not exclusively for you
Neither is poverty designed just for us
It is the short leash used by comrades
To tie us down to our shame and ignorance
A platinum policy for their happy retirement…

In Let’s Go To Parliament Molapong calls the people to stand-up and make the change that will finally emancipate us from the shackles of this neo-colonialist, capitalist-controlled, greed-fuelled situation we find ourselves in. 

…Let’s dissipate their phantom castles
Burn their asses—I mean ashes
And call the winds to blow them
Into the cold of the Atlantic Ocean
Let’s blowtorch their greed, lust
Into fake memories of colonialism
Cripple their self-styled powers
Humble their pride and position
To the grounds of our realities. ..

Scars On My Skin is not only about political poems, in the mix are insightful and sometimes very beautiful love poems. Teach Me, Please is the plea of a man ready to change, a man who knows his limitations, and wants to be what his woman needs him to be.

…Teach me sister, give me the language
That would not be chauvinistic and crude
Steer my clapping tongue though wording
That would not make you hate me forever

Teach me, woman of my happiest dreams
To express my inner most love for you.

Another touching poem is Time which echoes back to the title of the collection:

Time, they say, heals
Wounds become scars,
Tears turn into a salty smell
And a smile masks the pain inside…

Often I see poets on stage and I wonder what’s the point? Poetry that does not move the reader or listener, does not give insight, is as good as nothing. If My Poem Can’t Move You addresses that very issue:

…If the lines I recite carry no image,
Put no doubt in your heart
Why should I continue reciting? …

The Scars On My Skin is an intriguing collection from one of Namibia’s leading poets and deserves more attention; find it and give it a read. 

(This review first appeared in my column It's All Write in Mmegi newspaper 19 August, 2016)

Friday, August 5, 2016

Some recent reviews of The Scattering

Have you got your copy of The Scattering yet? Maybe these recent book reviews will encourage you to give it a read!

Last Sunday, the South African Sunday Times had this review in its books pages:

"Lauri Kubuitsile insists that she didn’t want to write a book about war. She wanted to write a novel that transcended the statistics, one that made war real through individual stories. The Scattering does that and more. She has created an epic tale of love in a time of horror....
Kubuitsile says this is herself speaking through Riette. “There’s nothing good about war, despite what so many shiny medals and marble statues might try to tell us. Nothing.”
But there is a great deal of good in this book. Do the brave thing, and read it." 

There was also this which first appeared in The Cape Times:

 "Kubuitsile’s depictions of war, violence and oppression are vivid but never gratuitous. Her writing is lyrical, affecting. It allows the reader to develop a deep sympathy for the characters, especially when they are confronted with impossible choices which leave no one unscathed. Her portrayals of people on all sides of the diverse conflicts are strikingly balanced. She shows the ambivalence of our passions and the decisions we make in order to survive. The Scattering is one of those superb historical novels which live on in the reader, simultaneously sounding a warning and shining the light of hope."

Business Day ran this review:

"In stark prose that reaches right into the chest to wrench the heart, Kubuitsile faultlessly describes the slow excoriation of Tjipuka’s soul through war, physical and emotional abuse and abandonment, and the relentless dashing of hope."

A reader at Writer's Write reviewed The Scattering too and even gave it 5 out 5 stars!

"The Scattering is a beautiful story of unbreakable bonds, love and new friendships. I truly enjoyed it and will recall the characters with fondness for some time to come"

And at Goodreads, so far it has only 5/5 star reviews, with this wonderful one by Friederike Knabe: 
"Lauri Kubuitsile has in my opinion written an outstanding novel that achieves two not always easily combined components: a deeply moving, intimate story of love, loss, betrayal and resilience of the human spirit and an in depth portrait of a historical time the events of which are not sufficiently known and/or understood beyond the indigenous population of the country but that have marked the region until today. "

Jan's Book Buzz also reviewed The Scattering:

" Through exquisite, evocative writing, Kubuitsile weaves the story of these two resilient women who must overcome shocking odds in order to survive. It seems that no matter how hard they try, the cards have been stacked against them, and they seem destined to suffer. But they are determined to accomplish whatever it is that they set out to do, proving to their adversaries that they cannot and will not be thwarted."

 Though not a review, Tiah Marie Beautement pulled out the quotes she liked from The Scattering and put them up on her blog:

"They were alive. Their systems ran. Their hearts beat. Their blood moved through their veins. But something shifts in a person when the only hope they have is to live and nothing more."

It's such a generous thing for people to sit down and take the effort to write a review about a writer's book.  I take every single one as a gift, so thank you everyone!!!

Now, have I convinced you to buy and read The Scattering??? :)

Tuesday, August 2, 2016

African Writers You Should Know: Fiona Snyckers

Fiona Snyckers is a South African writer living in Johannesburg. She’s probably best known for her Trinity series of books: Team Trinity, Trinity Rising and Trinity on Air. The books feature the spunky, mixed-race Trinity Luhabe. Fiona’s latest book is a thriller about cyber-stalking called Now Following You. In it, writer Jamie Burchell is free with putting her life on social media until a troll becomes a serious threat. A good read I can assure you.

Some of you may be aware Fiona was a judge for last year’s Bessie Head Short Story Contest and has graciously agreed to be a judge again this year. She also regularly writes very considered opinion pieces for The Mail and Guardian.  She talked with me about her writing.

Me: You’ve ventured into writing a thriller with your latest book Now Following You. Do you intend to stick with thrillers for a while or do you have another new path you’ve set out on?

Fiona: I like to keep my options open.  I’m working on four new projects at the moment.  One is a sequel to Team Trinity, so I am definitely keeping that series alive.  Another is a comedy-romance set in the fraught world of private-school girls and their ambitious mothers.  The third is a thriller, so, yes, I am continuing with that genre.  And the fourth is my first attempt at a literary novel.

Me: That high wall between South Africa and the rest of Africa seems to be allowing writers through; more and more South African writers are interacting with writers from all over the continent, but the wall remains firmly intact when it comes to publishers and book distribution. What is not working?

Fiona: I really wish I knew.  As writers we seem to be in contact with each other, both via social media and through literary festivals.  But the publishers and distributors are not interested in cross-pollination.  Perhaps it is a mistaken form of protectionism.  If the publishers believe the reading pool is barely big enough to support South African writers, they might guard against other African writers “taking” our readers.  I believe this is entirely wrong.  We are all African writers and readers and should be freely buying and reading each other’s work.  It would open up the market, not constrict it.

Me: You have written books for young adults with your Trinity series. In other places YA is a growth market but that doesn’t seem to be the case in Southern Africa. How can we get young people to be book lovers and book buyers?

Fiona: I have seen how very positively young local readers respond to my books when they get the opportunity to read them, but that opportunity will not come from a book that is available from Exclusive Books for R200.00.  That is completely out of reach for too many young readers.  These books need to be incorporated into school syllabuses and reading lists.  That way, the school foots the bill for the books and the learners reap the benefit.  Young readers are hungry for enjoyable local fiction, but it needs to be delivered to them by schools and other publically funded institutions.

Me: This is your second year judging the Bessie Head Short Story Contest here in Botswana. What are some of the most common problems with the stories that you’ve read written by Batswana and Botswana- based writers? Did you notice any unique strengths?

Fiona: Stories that have a strong and authentic sense of place always resonate with me.  In a way, Botswana itself can be your biggest asset as a writer.  Like all countries it is unique, and the reader will enjoy learning about it through the medium of fiction.
Batswana make exactly the same mistakes as other writers.  Stories that are rambling, derivative, or sloppily presented will naturally not do well.  A tight narrative with good momentum, strong characters, and the whiff of genuine originality will succeed in any forum.
Me: For you, what is the most frustrating aspect of being an African writer living and writing on the continent? What could be done to improve that?

Fiona: It is frustrating to know that the rest of the world is looking for a particular narrative from Africa.  They are open to the kind of novel that has a leopard and a thorn tree on the cover, or the kind that delves into the African diaspora in the manner of Adichie, Bulawayo or Cole.  There is not much space for other stories.  And that is why it is so very important for us to expand our own reading market by breaking down country-based chauvinism.

(This column first appeared in the 29 July, 2016 issue of Mmegi newspaper in my column, It's All Write)