The African Short Story in Question by 2014 Judge, Nicole Rizzuto

In a foundational essay in African literary studies, the critic V.Y. Mudimbe once posed the provocative question, is African literature a myth or a reality? (“African Literature: Myth or Reality?” African Literary studies, The Present State/L’etat présent, ed. Stephen Arnold, pp. 7-11. Washington, DC: Three Continents Press, 1985).  His answer is equally provocative: there is no real, true nature of African literature we can locate that exists in itself. This is not because, as some have argued, African literature is a copy of literatures from elsewhere, a “belated” cultural form that imports techniques of expression and modes of thought from outside of the continent.  Some such arguments have viewed the oral tradition, not the literary, as the true form of authentic African culture. Mudimbe, however, wants to question the oppositions posed between the indigenous and foreign, authentic and inauthentic, the oral and literary. 

The critic asserts that the reason there is no such thing as an essential nature to African literature is that African literature, like literatures from anywhere, cannot be separated from the multiple contexts in which it emerges and to which it also responds. These contexts—publishing houses both large and small, literary journals, school classrooms, academic conferences, and now fanzines, blogs, even twitter feeds —are always in the process of establishing and re-establishing procedures for measuring, classifying, and defining what African literature is. The Caine Prize for African Writing is another such context. The selection of short stories submitted for the prize this year is a testament to the capacity of contemporary writing to make us rethink assumptions that underlie such procedures of judging.   

The short stories—nearly one hundred and fifty of them received this year—challenged the very concept of what an African short-story is, if we understand by this term a category defined according to dominant taxonomizing conventions: the national, regional, or continental origins of a work’s author; the institutions and media through which it is published, diffused, and marketed; the topics it treats; the formal strategies it employs; the genre it embodies.  These works possessed an astonishing range of subjects and styles, and were written and published across multiple regions, nations, continents, and platforms. They created literary worlds that were just as diverse, extending from the prosaic to spectacular, the quotidian to the magical. 

In these worlds, a household pet becomes an     esteemed and then disgraced local politician (Rotimi Babatunde,” Howl” in A Memory This Size). 

The Sleeping Beauty fairytale is queered through the staging of a love story between a young refugee from Somalia living in Moi’s Kenya and his kindergarten classmate (Diriye Osman, “Fairytales for Lost Children” in Jungle Jim). 

A man searching for redemption confesses his sins of “trafficking in human souls” and traveling to the edge of the Portuguese empire and the coastal city of Luanda in the 18th century with his father and an abducted infant  (George Makana Clark, “The Incomplete Priest” inEcotone). 

A new kinship formation emerges when a teacher becomes a surrogate parent to a young woman thrown out of her house, accused by her mother of being a witch (Léonora Miano, “The Open Door of Paradise” in Transition). 

And a teenager steals away with her girlfriend for sex during a family send-off for her brother, whose fate in the Rhodesian Light Infantry she worries over as his departure approaches (Annie Holmes, “Leaving Civvie Street” in Queer Africa).

Taken as a whole, but also viewed individually, the stories not only stretched generic categories such as modernism, realism, and naturalism, but also troubled attempts to separate the aesthetic from extra-aesthetic spheres, the literary from the political, historical, environmental, or economic. Their plotting, focalizations, narrative voices, rhetorical devices, and structural features call into question the idea that there might be any single definition or model against which the African short-story might be measured. They give us a view into an African literature of the present and future in ongoing conversation with, and re-imagination of, literary and historical pasts.

A world in itself by 2014 Judge, Gillian Slovo

I went to France last weekend, to celebrate the wedding of the son of two of my closest friends to his long time girlfriend. Neither the bride nor groom nor any of their close families are French but they chose to have their ceremony in a garden in a French village because the location held special meaning for their growing love.  And, continuing on this theme, they designed their wedding ceremony as a way of joining their different identities.  She comes from a devout Catholic family and he comes from a long line of secular Jews, and theirs was a wedding of deliberate inclusion. It took place in a French garden, under a chuppah, the traditional Jewish canopy, with a contingent of Norwegian women relatives wearing drakter – the long robes that they don once a year to commemorate their community’s past – and the whole ceremony was presided over jointly by a male Catholic priest, and a woman rabbi.

As the ceremony unfolded I was reminded of my fellow judge, Helon Habila’s thoughtful blog for the Caine prize where he talked about what makes tradition.  Helon quoted TS Eliot’s assertion that tradition cannot be inherited but be must be made by great labour.  I thought about the ramifications of this as I stood witness to two young people who were using their wedding to begin to carve their new tradition out of their different pasts.  As I thought about this, some of the multi-stranded stories that I had the privilege to read as a Caine juror came back to me.

I thought about the stories we had shortlisted – and how much I was going to enjoy reading them again for the final stage of the judging process - and then I thought about the stories that we had reluctantly to leave out of our shortlist.  I thought about Annie Holmes’s "Leaving Civvy Street" from the Queer Africa collection.  It’s a story set in the former Rhodesia and peopled by white characters we used to call “old Rhodies”.  Although I am not Zimbabwean, these characters were so familiar to me from a now mercifully changed South African past so that while I was reading Annie’s story I was simultaneously re-visiting my own past and seeing it with new eyes.  

And then I thought about Mukoma wa Ngugi’s "Wounded Men": the life, in a few pages, of a boxer who crossed continents only to end up dying a typical Kenyan death. I am a novelist, accustomed to the long form, but what Mukoma wa Ngugi did for me in such a short number of words was invite me into a world of men that was unfamiliar, but which I understood as I watched it unfold on the page. And from wa Ngugi I re-visited a different story: Maurine Ogbaa’s "Chariot" that summoned up a world of women struggling to retain their identities, and make their own lives, in near impossible circumstances.

What all of these stories, and the ones we selected for our shortlist, did for me was to immerse me in worlds that I knew to a greater or lesser extent but that I came away, having read the stories, knowing from the inside.  I didn’t worry about which country, or which tradition, I was reading: instead I found myself gripped by the characters, their histories and their immediacy.  Each story a world in itself and which, like the couple whose wedding I went to celebrate, were using their pasts, their presents, and their imaginations, to create narratives that continued to intrigue me long after I had turned the last page.

Tradition and the African writer by 2014 Judge, Helon Habila

What is African literature, who decides what it is, who reads it, who reviews it, who is African? These are questions that have been asked ad nauseum over the years. It is a question that I believe the Caine Prize for African Writing has been helping us answer over the last decade and a half.  Not by ivory tower literary critics, but by writers, story by story, sentence by sentence.

This year we have looked at stories as diverse in style and theme as one can imagine, many of which didn’t get shortlisted (at a point we despairingly asked the Director, Lizzy Attree, if it is possible to enlarge the shortlist to six instead of five). There was “Howl”, from A Memory This Size, about a learned dog, by former winner, Rotimi Babatunde, written in the folkloric tradition; there was “Calculus in the Afternoon” from Kwani?, by Mehul Gohil, raw and heartfelt and beautifully written about an Asian/African student in Australia; and there was the faultless and humorous “Bury Babu on Sandy Bay” by Achmat Dangor; there was a strangely beautiful detective story “Eloquent Notes on a Suicide” by Blessing Musariri; there were fantasy stories about people disappearing into their computer screens, about strange visitations by even stranger beings; there was a lot of sex, gay and straight, and yes, this is all African fiction…

Looking at this diversity and profusion of style and theme it feels strange to remember that there was a time, and not too long ago, when some theorists tried to limit what can or cannot be called African literature; some said a work can never be African literature unless it is in an African language – and actually, people like Ngugi wa Thiong’o still believe so. I wonder what people like Obi Wali, the arch-proponent of ‘African literature in African languages only’ would say now if they were to hear that there are writers who write their novels in languages like Flemish and Italian and who unapologetically refer to themselves as African writers. Clearly there is more to it than language and style – it is most importantly about tradition.

Stories like “Chicken”, by Efemia Chela, is clearly aware of this sense of tradition. It opens with a family oriented, very African feast, and then moves on to a theme of exile and loneliness in another land; and to such “unAfrican” themes as lesbianism and the selling of the narrator’s eggs for money – perhaps the furthest it can get from the family oriented opening section. But of course the story is about survival away from the community, a bildungsroman if you like, about the African traveling and surviving in the wider world, about the African writer embracing other themes and acknowledging that the traditional  “African issues” alone no longer suffice to define African writing.  

Tendai Huchu’s story of Zimbabwean exiles in London, "The Intervention", told with humor and lightness of touch, dealing with a serious subject matter, continues what I call the “post-nationalist” theme. By placing the African outside the boundaries of the continent, the story is challenging the literary pass-laws that sought to restrict where African literature can go. Not only that, it is also thematising and interrogating the notion of that most colonial of constructs, the “nation”, itself. 

The other stories on the shortlist, Billy Kahora’s "The Gorilla’s Apprentice", Okwiri Oduor’s "My Father’s Head", and "Phosphorescence" by Diane Awerbuck all contribute to, and widen our understanding of what African literature can be.

***

Here one is made strongly aware that a new generation of African writers is announcing itself with fanfare.  But we must always remember that any new generation is nothing but an offshoot of that which came before it. This new African literature is a culmination of certain historical moments in Africa; it owes a lot to the overseas scholarship students in the 60s and 70s; the anti-intellectualisms of the military dictatorships in the 80s which led to the brain drains of the 90s; all these led to a re-interpretation of the word nation, to a larger understanding of the idea of tradition.

And so even though less and less emphasis should be laid on the word ‘African’, and more and more on whether a story is good or not, still, we must remember at the bottom of it lies a certain tradition. The “literature” of Africa predates and supersedes the invention of Africa, it was there in the Sundiata epic, in the Chaka epic, in the ritual plays and Ijala chants of the Yoruba, in the folktales and songs and historical narratives of thegriots. It transcended city borders and languages and political leanings; it defies simplistic definition. The geographical term “Africa” cannot contain or limit it, it can only aspire to describe certain salient aspects of it.

Of course every writer is free to decide for himself or herself what they want to be called. A lot have already declined the term “African”, preferring only to be called “writers”. There are also those who question why their books should be in the African authors section, calling it a “ghetto”.  These writers have already accepted and internalized the perception of Africa as a ghetto. For me, where a book is placed in a bookstore is less important than what is in the book; if it is a good book, people will make a beaten path it.Things Fall Apart is a fixture in the “Africa” section, and yet that doesn’t stop it from selling over a hundred thousand copies yearly in America alone.

Of course with some of these authors it becomes a matter of personality, or as TS Eliot calls it in his essay, Tradition and the Individual Talent, “emotions”. They think: how dare you place me in the same section as these other writers, clearly I am more talented, I am more complex, I am more European than African. I was born in London and went to Cambridge and Oxford and I live in Rome, surely I can’t be an African writer? Again, I say, it is a matter of choice.   You are not African because you are black, or because your parents came from an African country, again to quote Eliot:

Tradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labour. It involves, in the first place, the historical sense... This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional. And it is at the same time what makes a writer most acutely conscious of his place in time, of his own contemporaneity.

I don’t aspire to write like Achebe, or Ngugi or Bessie Head, but understanding them and the history and aesthetics that shaped their work improves and also shapes my work. This is not mere copying or imitation, it is not indulging in what Eliot calls mere “archeological reconstruction”, it is having a sense of tradition. The beauty of it, as Eliot again points out, is that a contemporaneous work always alters the meaning and the perception of works that came before it, for in a canon no work is greater, none is better, they just make use of different materials.  

The best metaphor to describe this idea would be that of a building, built over many generations, each generation doing its own part. Some clears the site for the building, another generation lays the foundation, yet another generation raises the walls, another comes and lays the roof, and so on, with plumbers and electricians and fitters and furniture builders, all doing their part. But what is important is that none is more important or less important that the other. They all build with the same keenness, the same purpose; they simply use different materials and different skill sets.

But of course in this age of superstar writers and commodification of literature it makes sense to try to stand out, to be different and thereby raise the value of ones stock. But again, a word of caution from Eliot (I am quoting him for the last time, I promise): “No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists.”

Toni Morrison, in her brilliant essay, “Rootedness: The Ancestor as Foundation” shows this awareness of an obligation, a duty to what she calls the community, or the “village”, and goes on to say that whatever she writes if it means nothing to the village, then it is worthless. We all have to decide who and what that village or community is for us. This is not a circumscribing of freedom, but actually a setting free, for no artist is ever free who is without a sense of belonging, a sense of history.

Taxi to Chitungwiza by 2014 Judge, Percy Zvomuya

The life and fate of Chitungwiza, it seems, is to forever skulk in the shadows cast by Harare’s miniature sky scrappers and lead-soaked fumes. Chitungwiza’s small-time status is undisputed; in official and semi-official literature, it is routinely referred to as Harare’s dormitory town, though it is populated by a million people. It is just 30km removed from Harare, although it seems doubly-detached; the ever present air of fatigue, inertia and desertion that now hangs over Harare is thicker and more toxic in Chitungwiza. 

It was while on the way to Chitungwiza that I experienced one of the most literature affirming moments I’ve had in a long time. It was literature’s eureka moment, if you will, the football equivalent of which is hugging a stranger when your team eventually scores the winning goal in the last minute of extra time.

I had boarded a commuter minibus taxi and sat in the third or fourth row, two people to my left and someone else on my right. About the people on my left I don’t recall a thing; about the person on my right, I remember almost everything: sex, height, and the conversation we had. 

I had hauled out of my satchel sheets of paper on which was printed “The World’s Longest-Held Prisoner,” a short story by Libyan writer Omar El-Keddi; the story is one of 140 short pieces of fiction submitted to the 2014 Caine Prize for African Writing. Almost instantly I had become aware that I had company. The man to my right was staring intently at the sheets of paper in my hands. He meant it to be unobtrusive but his interest in the papers in my hands was obvious. 

Nelson Mandela

It could have been the startling title which caught his attention. Southern Africa has its fair share of famous political prisoners; there is Robert Mugabe; late nationalist Maurice Nyagumbo; and, most celebrated of them all, is, of course, St Nelson Mandela. (With the World Cup a few weeks away, the saint is now in heaven where he is probably pondering football tactics with St Luke. It goes without saying that he is putting on an Argentina shirt since his own team Bafana, perennial underachievers, didn’t make it to Brazil, but that’s a story for another day). 

Or maybe it was the easy, unheralded way the story begins: “After failing his middle class exams, Saleh al-Shaybi decided to join the army. He saw his fellow villagers and men from the neighbouring villages return with new clothes, pockets filled with cash, wrists weighed down by watches, smoking cigarettes from full packs and lighting them with gold lighters. He decided to follow in their footsteps, and wrote down ‘please take me' on his application.”       

Whenever I flipped a page, leaving my neighbour behind, he would remonstrate. After twenty or so minutes, in which I had turned a couple of papers, him always in tow, he took down the details of the story.  He would go on the internet, he said, download it, and read it for his own pleasure and at his own pace…

Later, finding my way through the inertia of Chitungwiza, I pondered the communion I had partaken in with the stranger. Even though reading is a profoundly solitary exercise, this was the closest that we had come to exploding that piece of wisdom. 

Stories That Make a Difference by Jackie Kay, Chair of Judges 2014

I am in Ullapool right now, a beautiful town surrounded by hills on the edge of Loch Broom in the north west of Scotland. At the book festival here I was asked if stories make a difference. I said something bland like that I hoped that my stories might hold up a mirror to the reader's life but that I thought writers were deluded if they thought stories could make a difference to the world we live in. Then a woman came up to me later and said, “Your stories made a difference to me.” She had suffered a brain injury and had only just been able to start reading again, and found that the short story form was something she could contain.  My stories were the first things she'd been able to read after five years of not reading.

The short story is such a fascinating hybrid form. It shares the poet's particular love of image or lyricism, of not wasting a single word, with the novel's wide narrative lens. It takes people often at a moment of change or trauma and distils and invests that moment with something wider, something that in turn helps, by the narrowing of focus, to understand the wider world. It is wide open. It has stretched across the continent. It is the perfect form for our time. It can be carried around in the head, the whole story. You should be able to lay it down on a vast plain and it would still glow.

We were inspired this year by the range of subject matters in the Caine Prize short-listed stories, the different approaches to this pioneering and inventive form.  During our judges meeting we returned again and again to what made a story work for us and what stories made a difference. Was it because we believed the character's voice? Was it the style and tone? Was it the structure of the story? Was it because the story can be philosophical? What is it we were looking for in the stories? We were looking for different stories. Fresh, inventive, surprising. We were looking for stories that make a difference.

Caine Prize Reflections by Bella Matambanadzo

Bella Matambanadzo

No writer worth her salt would turn her nose up at the opportunity to take part in the Caine Prize for African Writers'Workshop. Being included in a group of 12 published and promising writers from 6 African countries whose short stories are produced into an anthology that sees 8 publishing houses work together is not the sort of gift an author receives everyday. I am looking forward to seeing the final collection stitched together. Its themes of place and belonging, of legacies and futures are inspired as much by our everyday experiences on the continent we call home, as they are by the places elsewhere that we visit, either in the flesh or through the magical realm of our imaginations. 

We will be published by local book houses in Zimbabwe,Zambia, Uganda, Ghana, South Africa, Kenya and Nigeria. Off the continent, we have publishing deals secured in the United States and in the United Kingdom. Our work may additionally be translated into French, the first time the Caine Prize is doing so for its annual anthology. I hope this is the beginning of an expansion in the languages formally associated with the Caine Prize. Perhaps in future collections will be published in Kiswahili, Fulani, Wolof, isiXhosa, Hausa and Africa's many other languages, that given the global nature of where Africans live in today's world, and where our works are read, would mean an expansion of readings and writings in our very own tongues. 

As a creative artist and thinker the precious gift of time to focus on the craft of writing and re-writing is something that I will cherish for many, many years to come. Time with other writers who serve as a loving group of peers, giving feedback and reactions to work that goes from draft to final version in less than ten days. The writing escape is organised in a formula that permits you to write what you want and share it firstly with other writers through daily reading sessions. Artistic independence is a hallmark of the workshop. You can either accept, or reject the feedback given you. Experienced editor/mentors offer one-on-one sessions where they see your words and suggest what works, what is incomprehensible, and where improvements can happen. Nothing is off limits. We were guided, urged in fact, to stretch our creative imaginations and push down traditional literary boundaries, break up and recreate language and show no respect whatsoever for prepositions.

I came back with 6 complete stories. The one that will go into the Caine Prize collection, and the 5 others that I am presently submitting to other publishers who have asked for stories. In terms of output that means I wrote a story every two days. The other writers were even more productive, knocking out stories and ideas more adeptly. We met as strangers, and we left with a sense of camaraderie that means although there will eventually only be one winner for the £10,000 prize announced at a ceremony this July because we shared so much as writers, listened to each other's ideas an stories, edited for each other, had great laughter together the collection honours us all. In the end we will all be winners because we worked as a team and everyone brought the best of themselves to our writer's retreat held in the perfect peace of Leopard Rock Hotel in the Vumba, Zimbabwe.

The visits to schools in the surrounding community brought us face to face with young writers, almost 800 of them spread across four different schools. Schools that have produced many of Zimbabwe's most profound literary achievers. At Hartzell, we could taste and feel the atmosphere evoked and immortalized in Tsitsi Dangarembga's Nervous Conditions. At St Werburgh'smission school we read what the students in the young writers club were crafting in their journals: poems, short stories and songs that they plan to publish in a newsletter.    

Back in Harare at the City Library we saw traditional literature coming into contact with tech experimentation. Zimbabwe's geek generation, and yes, it really exists far away from Silicon Valley, is building apps for books to stream via mobile phone. My aspiration now is for writing opportunities, and publishing prospects to expand in Africa, rather than diminish. I have found a thirst for books so rare here that it reminds me that literature is by no means dead. It's gaining a new morphology.

A shorter version of this article was published in Harare News. 

A visit to St Werburgh school in the Bvumba by Bryony Rheam

The Bvumba is a special place for me: as a child, my family spent many holidays there and I have lots of special memories of long walks through the jungly terrain, sitting next to a huge open fire in the evenings and watching the mist rise as the sun came up in the morning.  In 1981, we lived for a year in Penhalonga, not far from Mutare along the Mozambican border.  I remember going to school in a very old bus, chugging up Christmas Pass and then that wonderful sense of almost freewheeling it down the other side into Mutare where I went to school.  It was a time of great transition in Zimbabwe: black children were allowed into what had predominantly been white government schools, and many white people were leaving for places such as South Africa and Australia.  The war in Mozambique was still in full force and, for all that we were so near, we may as well have been on a different planet.  The only interaction we had with the country was through the itinerant border jumpers who came across to sell the food aid they had received from West Germany: tins of fish which they couldn’t open. 

Years later and here I was in the Bvumba once again, attending a Caine Prize workshop.  Towards the end of our time there, we were divided into groups of four and sent off to different schools to give a talk about our writing. St. Werburgh is situated on the Burma Valley Road, on the other side of the mountain that dominates Leopard Rock.  It is an Anglican school, started in 1897, but it receives no funding from the church.  Originally situated on white commercial land, from whom it received some financial help, the school is now on its own, relying on US$25 a term school fees from its 900+ pupils.   

The other groups of writers went to secondary schools to give talks whereas we were invited to speak to the primary school’s Young Writer’s Club, a group of 8-12 year olds.  That the school had such a group was of great interest to me as an English teacher.  From my own experience, such clubs are attended by few and usually run out of enthusiasm quite quickly.  However, the 40 or so children who all trouped into the classroom to meet us proved that this was a writing club with a difference.  Luckily, it is headed by teachers who are keen to teach and share their ideas with the children in their care. 

We were shown their writing books in which they had recorded details about their families- many of them are being brought up entirely by their mothers – and about trips away to a nearby waterfall and the museum in Mutare.  They had also written an imaginative story; one about a rat who ate the back of a man’s coat sticks in my mind.  The man wore the coat, not knowing that the back was missing and everyone laughed at him as he walked down the road!  

What really struck me as I read the children’s work was how good their English was.  I work at a private school in Zambia where school fees are between US$3000-5000 a term (depending on if they are primary/secondary and boarding/day-scholars) and yet the standard of English is incredibly poor.  The pupils I teach are not all first language English speakers, but they all speak English at school.  At the age of fifteen, they struggle to hand in an essay which is more than one side of an A4 page long and which has a clear beginning, middle and end.  Yet these children in a remote government school in Zimbabwe have already got to grips with the basic structure of a story.   

Another thing which impressed me was the ease with which the children could stand up and recite poems to the audience.  Not many students I teach could do that from memory or they would mumble and look self-conscious and try to slink off without being noticed.   

It is a generally accepted fact that if anyone wants to be a good writer, they have to be a good reader. I give talks to parents about the importance of reading to their children because more and more children are writing within a vacuum.  They have nothing to stimulate their imaginations because no one is reading to them, including teachers, who often don’t value reading as it’s not ‘part of the syllabus’.  At St. Werburgh the problem is a different one.  They don’t have any books to read to the children.  Unfortunately, the suggestion to download free books off the internet, was not a particularly practical one in an area with no cell phone signal, never mind internet access. 

The children sang for us and we were also taken on a tour of the school before being offered mealies to eat.  On the tour, we saw the IT department and the special needs class.  There is also a class for children with autism and downs syndrome.  One of the girls is brain damaged after being hit by a car.  What I saw in the classrooms is some very progressive teaching practice.  There is a rota on the wall for cleaning the classroom; the children are taught skills such as knitting and the teacher plays music through her cell phone to provide stimulation.  She says that ideally they would like a CD player and I can feel that hint in her voice that hopes I might be the provider of such a machine.

I was impressed by the amount of pictures on the wall, some standard Ministry of Education posters about cholera and the importance of washing hands, but also handmade ones, some out of old corn flakes packets – vowel sounds and times tables.  It occured to me that the reason these children’s English is of such a good standard is because the basic teaching practice in Zimbabwean government schools still focuses on spelling rules and multiplication tables.  This is something that has been forgotten in many private schools and only recently has its significance re-emerged in the UK. 
 

Abdul Adan with children from St Werburgh school

Abdul Adan made a name for himself by learning part of a Shona song and also teaching a large group of school children who had gathered round him a Swahili song.  The area the school is situated in is a truly beautiful one and I couldn’t help envying the children for living in such an area.  However, it is also a place of incredible hardship.  Most of the parents who send their children to this school are subsistence farmers.  As they all tend to grow the same crop, maize, the price of a bucket of mealies is dirt cheap.  US$25 a term in school fees may not sound like a lot of money, but it certainly is for these people.  Some of the children faint during the school day as they have had nothing to eat all morning and the school cannot possibly feed them.

It is hard sometimes, considering the history of Zimbabwe in the last fifteen years, to understand why education is still so valued in the country.  Many of the children wrote how they wanted to be pilots or lawyers because ‘that’s how you make lots of money’.  Yet the country wide pass rate for ZIMSEC O level is 16%.  Even if these pupils do go on and get their A Levels, what then?  According to one of the teachers, the best thing to do would be to teach the pupils a skill so that they can actually do something practical, besides farming, when they leave.

Some of the children live as far as ten kilometres away, up the mountain and must not delay in their start to the long walk home.  They walk in groups as there is a danger that, especially girls, may be attacked and raped if they are on their own.  In the past, some children have disappeared, probably taken for body parts, although this hasn’t happened for a while.   

We leave after an exchange of email addresses and phone numbers.  Can I get any of the teachers a job in Zambia?  An average teacher in Zimbabwe earns just short of US$500 a month, regardless of experience and qualifications.  A government school teacher in Zambia can earn around US$1000 a month and they are often given car and housing loans. 

As we drive away, I marvel at the resilience of these teachers, people who obviously pour so much of their time and effort into teaching these children and who receive very little monetary recompense for it.  The landscape is incredibly beautiful as the car bumps and bounces down the road.  I think again of our family holidays, how there was always this feeling of security, of knowing what was going to happen.  Today I feel that we spend too much time ticking off places we have gone to.  

Holidays must always be somewhere different, somewhere exotic.  Yet there is something endearingly comforting about having a favourite place.   

It is a long time since we spent those holidays in the Bvumba and much has happened in both my family life and the life of Zimbabwe, and for me the country of my birth is a paradoxical mixture of love and incredible sadness.  I wish in many ways that the workshop had been held elsewhere, in a place with no emotional investment for me.  I think of my story that I have written over the course of the workshop.  It is sad, but it is also about letting go.  I suppose that’s what I want to do really, let go.  But in my heart of hearts, I can’t.  It’s under my skin, you see, and that’s why it’s me who can never really leave it. 

Don't you know, little fool, you never can win?

Why not use your mentality - step up, wake up to reality?

But each time I do just the thought of you

Makes me stop just before I begin

'Cause I've got you under my skin.

Yes, I've got you under my skin.

Africa39 and Caine Prize authors by Lizzy Attree

It is inspiring to read the newly released Africa39 list of the most promising writers from Africa under 40 years old and see so many writers who have been involved in the Caine Prize process recognised on that list.  

On 8th April 2014, at a breakfast at the London Book Fair, 39 writers from Africa south of the Sahara and its diaspora were revealed as the authors selected as the Africa39. Also announced was that the official anthology of their work, edited by former deputy editor of Granta, and Deputy Chairperson of the Caine Prize, Ellah Wakatama Allfrey, will be published in October 2014.

The “39 Project” aims to celebrate the most vibrant voices in literature and provides a platform to expand the conversation about the future of literature in Africa. The Africa39 Project, as part of the Port Harcourt (UNESCO World Book Capital 2014) Book Fair, will culminate in the publication of an anthology featuring new writing by selected writers from Africa, jointly published by the Hay Festival, the Rainbow BookClub, andBloomsbury. Across the world, and from 2014 to 2016, a series of events will seek to showcase the Africa39 authors, their work, and the Africa39 anthology.

How was the Africa39 list compiled?
In November 2013, Binyavanga Wainaina—2002 Caine Prize winner, founder of Kenya-based literary journal,Kwani?, and author of acclaimed memoir, One Day I Will Write About This Place—took on the task of researching and compiling a list of 120 writers from Sub-Saharan Africa for the Africa39 Project. This long-list was sent to the official judges (Margaret Busby, Elechi Amadi, Osonye Tess Onwueme) who then decided upon a short-list of 39. For one month Binyavanga and his team worked to issue calls to Anglo-, Franco-, Lusophone, and Kiswahili literary writers and to publicise the project across Africa.

Early on, Binyavanga emphasised that the places on the long-list must be apportioned equitably according to gender. Also important to the project were those authors writing in African languages. In outlining “The Spirit of the Africa39 Project”, Binyavanga made provisions for writers who might be “at risk” or who, for reasons of safety or security, publish anonymously or using pseudonyms. He ensured that as many different types of writers were encouraged to submit including, “[w]riters of children’s fiction, prose fiction blogs, erotica writers, romance,” as well those who have published “writing done in Braille.” The resulting long-list was as diverse as possible, reflective of the complexity of the continent, and populated with “the wild, weird, [African] explorers of the imagination.”

Which Caine Prize writers feature on the Africa39 list?

The 17 authors involved with the Caine Prize, either by taking part in a workshop, as a shortlisted writer, or as a winner of the Prize include: 

Chimamanda Ngozi Adichie from Nigeria was shortlisted in 2002 for her story "You in America" and took part in the first Caine Prize workshop in South Africa in 2003 where she wrote the story "Lagos, Lagos" which was published inDiscovering Home.

Monica Arac de Nyeko from Uganda was shortlisted in 2004 for her story "Strange Fruit", and went on to win the Caine Prize in 2007 for "Jambula Tree". She took part in the 2005 workshop in Kenya where she wrote the story "Grasshopper Redness" published in Seventh Street Alchemy and the 2008 workshop in South Africa where she wrote the story "Night Commuter" published in Jambula Tree and other stories.

Rotimi Babatunde from Nigeria won the Caine Prize in 2012 for his short story "Bombay's Republic" and took part in the 2013 workshop in Uganda where he wrote "Howl" which was published in A Memory This Size and other stories. 

Jackee Budesta Batanda from Uganda took part in the 2005 workshop in Kenya where she wrote the story "Life Sucks...Sometimes" which was published in Seventh Street Alchemy.

Shadreck Chikoti from Malawi took part in the 2011 workshop in Cameroon where he wrote the story "Child of a Hyena" which was published in To See the Mountain and other stories. 

Tope Folarin won the 2013 Caine Prize for his short story "Miracle" published in Transition magazine.

Clifton Gachagua from Kenya took part in the 2014 workshop in Zimbabwe where he wrote the story "As a Wolf Sweating your Mother's Body" which will be published in theCaine Prize anthology in July this year.  

Stanley Gazemba from Kenya took part in the 2004 workshop in South Africa where he wrote the story "The IOU" which was published in A is for Ancestors

Mehul Gohil from Kenya attended the workshop in South Africa in 2012 where he wrote the story "Elephants Chained to Big Kennels" published in African Violet and other stories.

Abubakar Ibrahim from Nigeria was shortlisted in 2013 for his story "The Whispering Trees".  He took part in the Uganda workshop in 2013 where he wrote "The Book of Remembered Things" which was published in A Memory This Size and other stories and the Zimbabwe workshop in 2014 where he wrote the story "Lily in the Moonlight" which will be published in the Caine Prize anthology in July this year.

Stanley Kenani from Malawi was shortlisted 2012 & 2008 for his stories "Love on Trial" and "For Honour".  He took part in the 2013 workshop in Uganda where he wrote the story "Clapping Hands for a Smiling Crocodile", published inA Memory This Size and other stories and the 2010 workshop in Kenya where he wrote the story "Happy Ending" published in A Life in Full and other stories. 

Glaydah Namukasa from Uganda attended the Caine Prize Naivasha workshop in 2007 where she wrote her short story, "Then, Now and Tomorrow" which was published inJungfrau. Glaydah is the current Chairperson of FEMRITE, the Uganda Women Writer's Association.

Nii Parkes from Ghana has been a member of the Caine Prize council for three years.  He was the workshop leader for the 2014 workshop in Zimbabwe along with 2008 Caine Prize winnerHenrietta Rose-Innes. 

Namwali Serpell from Zambia was shortlisted in 2010 for her story "Muzungu" and took part in the 2011 workshop in Cameroon where she wrote the story "The Man with the Hole in his Face" which was published in To See the Mountain and other stories. 

Novuyo Rose Tshuma from Zimbabwe took part in the 2010 workshop in Kenya where she wrote the story "The King and I" which was published in A Life in Full and other stories. 

Chika Unigwe from Nigeria was shortlisted in 2004 for her story "The Secret" and took part in the 2005 workshop in Kenya where she wrote the story "Retail Therapy" which was published in Seventh Street Alchemy.

Mary Watson from South Africa won the Caine Prize in 2006 for her story "Jungfrau" and took part in the 2007 workshop in Kenya where she wrote the story "Simon Said" which was published in the Jungfrau collection.

Workshop writers visit Hartzell School, Mutare by Barbara Mhangami-Ruwende

Learners at Hartzell School

Friday March 28, 2014, Chinelo Okparanta, Abubakar Adam Ibrahim and I visited Hartzell School in old Mutare, just outside Mutare City. The school is named after Bishop Hartzell of the United Methodist Church who was the founder of the first Methodist Missionary Church in 1899 on land given to him by Cecil John Rhodes. The school was built in 1901 as a boys’ school and in 1903 a girls’ school was built. These two schools were integrated in 1924 and the students were trained as teachers and pastors so that they could spread the mission as educators and create new church communities.

Chinelo Okparanta and Abubakar Ibrahim at Hartzell School

We met with about 200 students from form 3, 4 and A-level students along with their instructors in the language and literature departments. The three of us read from our work and we discussed the importance of creative writing and the power of storytelling. 

The students asked us questions about finding their passion, how to nurture it and to stay motivated in an environment where writing is not considered a real profession. This question brought about the discussion of Zimbabwe’s perception of writers and artists and the negative stereotypes of writers as dreadlocked drunks and junkies. Dambuzdo Marechera was the primary example of what many people gave when discussing writers and we were able to show the students that there were many other writers who did not look like or behave like Dambudzo Marechera.

Barbara Mhangami-Ruwende reading

Overall the visit was enriching for us and it is my hope that the talent, energy and dreams of these young people will find expression so that the story of Africa can be told in the voices of those whose very existence is inextricably tied to this continent. The rich stories of Africa require bold and courageous voices that are deeply empathetic to the issues that have shaped this continent and its people. It also requires voices that are committed to the delicate task of placing Africa and her stories within the global context.

Abubakar Ibrahim (left), Barbara Mhangami-Ruwende (centre), Chinelo Okparanta (right)

Bulawayo's 'We Need New Names' wins inaugural Etisalat Prize for Literature

NoViolet Bulawayo’s winning spree with her debut novel ‘We Need New Names’ has continued, following the announcement last Sunday 23rd February that she was selected as the winner of the inaugural Etisalat Prize for Literature. The Prize is the only pan-African prize celebrating first time writers of published fiction books.

From an original longlist of nine novels, the judges whittled the entries down to a shortlist of three, which included NoViolet Bulawayo, Karen Jennings and Yewande Omotoso, who took part in the 2012 Caine Prize workshop in South Africa. 

'We Need New Names' was victorious, chosen by a panel of three literary experts, Pumla Gquola, Sarah Ladipo and Billy Kahora, who was shortlisted for the Caine Prize in 2012. 

In addition to winning £15,000, a Samsung Galaxy Note and a Montblanc Meisterstuck, NoViolet will take part in a sponsored book tour to three African cities and a Etisalat Fellowship at the University of East Anglia, mentored by Professor Giles Foden.

NoViolet's unique writing style reached international audiences when she won the Caine Prize for African Writing in 2011 with the short story 'Hitting Budapest.' 'We Need New Names' was subsequently shortlisted for the 2013 Man Booker Prize, making her the first black African woman and the first Zimbabwean to be shortlisted for the Man Booker Prize.