One of them is quite sick and the other is his caretaker. On a subliminal level, the short story explores the myths and realities in Nigerian nationhood.
That people would imagine he was a cannibal was something he had not thought was possible. Afterwards, we discuss writing, reading, editing and publishing, with every writer at the workshop being given an opportunity to talk about his or her writing experience and the workshop too. Power cuts made a rude intrusion into my life; water supply followed suit and became erratic; salaries started to be delayed; everybody groaned on campus and in town; the Cedi plunged into a free fall.
There were way too many jeeps on the roads of Accra for my liking. Though he was schooled and once lived in Jos, Ibrahim has resided and worked in Abuja these past years, where he is Arts Editor of Daily Trust. I got a taste of what could potentially happen in my last two months in the country.
Set in pre-colonial Ghana, The Hundred Wells of Salaga is a story of courage, forgiveness, love and freedom. One of these issues is the provenance of the discourse of Africa Rising.
Google is a good Ifa Oracle to consult in these matters. On the surface, it looked like we were finally getting a break from the depressing Afro-pessimism of the politics of the belly.
As it happens, some of us in his inner circle of friends do receive personal new essay alerts from him.
Yet, somehow, we never owned the Joseph Kony story, never owned BringBackOurGirls, and do presently not own the framing of the narrative of Ebola. I made that decision about a week ago, before the prize was announced.
I found in Tlali something completely different. Yet, Ghana was not yet at the second world level of South Africa. She speaks very little English so we mostly just sit and let the silence fill the space and time. If a continent cannot even own the means to perspectivize her failures and her tragedies, how can she possibly own the path to her successes and triumphs?
After all, you know by rote what the talking points and the keywords are in those PowerPoint slides whenever men in black suits from the international capital and finance community, the international development community, the global NGO and activist community, world governance bodies and their continental appendages in Africa, as well as the institutional and disciplinary world of the social sciences, descend on any seminar room to talk about Africa Rising.
The workshop was held in Rwanda, in March, this year. The evolution of the story was so heartless and unexpected. And you notice the weariness of the soul seared into those voices.
Now, my own rule of thumb is that any African country crawling under the weight of the white jeeps of postcolonial dependency is in trouble. Yet Muriel is ever defiant, ever bright, and neither she nor Tlali have much time for victimhood. The email comes in on the afternoon of my birthday.
I wanted to know more. There is one additional reason why permanent elation ought to be the defining essence of my own interpellation as a producer of Africanist knowledge. We talk about colonialism and the Berlin wall. Orderly in their chaos. Where is agency located and enabled in terms of literature as a canonized institution?
If we do not understand why we lack agency, we will never find our way to it. Even if I were writing the vilest character on earth, it would be with my flavor and through my eyes.
I only just returned in the summer. All one hundred and seventy million of us provide one jolly canvass of carnival, revelry, and jouissance. I was involved with the Diaspora Consultations on this agenda in New York last year. Disorder as Political Instrument. I mean those white Toyota Prado jeeps that are so ubiquitous in Africa.This was also how the Caine Prize’s own press release framed the issue (“In a sign of the established calibre to be found in African writing and as the Caine Prize matures in its sixteenth year, the shortlist includes one past winner and two previously shortlisted writers.”) But does that mean that an emerging writer was kept off the.
For those who are not familiar, the Caine Prize for African Writing, which was first awarded in year is an award “open to writers from anywhere in Africa for work published in English. Its focus is on the short story, reflecting the contemporary development of the African story-telling tradition” (source).
The stories analyzed in this paper are also winners of the prestigious Caine Prize for African short-story writing, instituted inand annually awarded since then to promising literary talent from Africa in the short-story genre.
InI reviewed Opening Spaces: Contemporary African Women’s Writing edited by Yvonne Vera () and was thrilled by the diverse stories and cast of African women writers. I even took interest in the writers who were unfamiliar to me at the time, like Leila Aboulela and Lília Momplé.
May 15, · The Caine Prize for African Writing is the richest short story prize on the continent. Established inthe prize awards the best short story by an African writer in the English language.
The shortlist has three Nigerians on it. For a long time, Nigerians have dominated the shortlist and won the prize. of the Caine Prize for African Writing in –– but rather presents itself as loosely con- nected episodes of an autobiographical first-person account in which the author/narrator sets out to explore his home country Kenya after several years of absence.Download