ktravula – a travelogue!

Nnedi Okorafor on Censorship

“In many cultures of the world, women damage themselves in order to appeal to men (which translates to “finding a mate”). And parents damage their girls to make them marriageable. In American society, much of this “mutilation” is psychological (though plenty is physical) but no less painful or harmful. However, plenty of people are writing about all this. I don’t feel enough are writing about female genital cutting.”

This piece from fantasy and speculative fiction writer Nnedi Okorafor has made my morning not just because of the way she successfully defends her genre from the many ignorant attacks it has received from sections of the public, but the depth and fluidness of her thoughts. Listen:

“First of all, I speak about what I choose to speak about. Let’s see you try to stop me. Secondly, if writers only wrote about what they’d experienced, then few people would write about wizards and unicorns. Thirdly, let’s be honest here, you can lace the practice of female genital cutting with whatever elaborate stories, myths and traditions you want. What it all boils down to (and I believe the creators of this practice KNEW this even a thousand years ago) is the removal of a woman’s ability to properly enjoy the act of sex. Again, this is about the control and suppression of women. And I do NOT have to be right there between a little helpless girl’s legs to know this to be true.”

Read the rest of the piece here and see why the award-winning writer Nnedi is one of the bright futures of African literature.

Pilgrimages: Thirteen African Writers. Thirteen Cities. Thirteen Books

The Pilgrimages Project
Pilgrimages is a ground-breaking, pan-African project organised by The Chinua Achebe Center, Bard College, in partnership with Kachifo Limited in Nigeria, Kwani? Trust in Kenya, and Chimurenga in South Africa, in celebration of Africa’s first world cup.

The project involves 13 African writers visiting 12 cities across the continent and one in Brazil for two weeks during the World Cup. At the end of the project, each writer will produce a book of non-fiction travel literature based on their experiences, forming a series to be published next year.

The Writers
The writers and cities involved in the project are Funmi Iyanda (Durban), Alain Mabanckou (Lagos), Abdourahman A. Waberi (Salvador, Bahia), Akenji Ndumu (Abidjan), Doreen Baingana (Hargeisa), Chris Abani (Johannesburg), Uzodinma Iweala (Timbuktu), Billy Kahora (Luanda), Kojo Laing (Cape Town), Binyavanga Wainaina (Touba), Yvonne Owuor (Kinshasha), Victor Lavelle (Kampala), Nicole Turner (Nairobi) and Nimco Mahmud Hassan (Khartoum).

Alain Mabanckou in Lagos
Alain Mabanckou from Congo-Brazzaville is considered one of the most talented writers in Francophone African literature today. His most notable works are Verre Casse (Broken Glass), Bleu-Blanc-Rouge (Blue-White-Red) and The African Pyscho. His work, Memoirs of a Porcupine, won the Prix Renaudot, one of the highest distinctions in Francophone literature.

Alain visits Lagos from the 25th of June to 2nd of July 2010, during which time he will crisscross the city, from the ‘highbrow’ to the ‘slum’. Each day of his stay will alternate stops at football viewing centres, local bukkas and beer parlours, upmarket bars and relevant cultural events, and will include interviews with local denizens, artists, writers and other social commentators. Alain will be guided around the city by architect, writer and publisher, Ayodele Arigbabu, who will also blog about their daily experiences on the Pilgrimages website.

The Website
A dynamic and state-of-the art multimedia website has been launched as part of the Pilgrimages project, at www.pilgrimages.org.za. During the 13 Pilgrimages the writers and their local guides will blog on the website. Correspondents, artists and photographers in each city will also post topical content on the site.

The Books
The Pilgrimages Project will culminate in the launch of twelve books in four African cities in January 2012 during the African Nations’ Cup. The collection promises to be the most significant, single addition to the continent’s archive of literary knowledge since the African Writers’ Series of the 1960s. The books will be published by Kachifo Limited in Nigeria, Kwani? Trust in Kenya, Chimurenga in South Africa and a francophone publisher to be announced.

For more information on the Pilgrimages Project, please visit the website: http://www.pilgrimages.org.za

For more information on Pilgrimages and Alain Mabanckou in Lagos, please email info@kachifo.com
rayosword@gmail.com or call 07084344856

On Slavery Museums

Slavery in the world was an absolute evil, and its transatlantic brand has become one of the most visible and contemporary pointers to its gruesome reality. Many things have crossed my mind since I wrote the article for the Nigerian newspaper NEXT (reproduced here on the blog) on my experience at Badagry examining the slave relics and the role of African (nay, Nigerian) families in the propagation of the trade. One of the pressing ones was whether it was right or moral or fair that descendants of the slave traders were the owners of the many private museums now at Badagry housing the original relics of the horrible time. Unfortunately it is not a slam-dunk open and shut case.

On the one hand is the right of any citizen to make money off of anything as long as it doesn’t pose any harm to the other person. On the other hand is the tug of annoyance in our heads when we realize that every time we pay money to gain access into the private museums, we continue to fund the machinery that once profited at the expense of millions of helpless lives. Then there is the added complexity we find in the need for information from whatever source. The slave trade is a historical fact, and there is so much that needs to be told about it. Generations after us will retain the same level of curiosity as us, if not more, and would ask questions. And who best to answer them than the true descendants of the slavers who know either from word of mouth or from family treasures of relics exactly what went on at the time and the role their families played.

In a normal working society though, one would expect that those artifacts would be in custody of a working government, with sufficient documents and audio-visual materials there detailing all that needs to be told about the period, and the proceeds going to take care of the citizens. Will this, if implemented, violate some principle of “free market” and private ownerships? Maybe. But when descendants of slavers still profit from the trade this indirectly, it rubs the nose of the society in the indignity, and it elevates evil one some level. The Mobee “royal family” of Badagry are an elite family already there. I don’t assume that they need any more of the dirty money that must come from tourists all over the world wanting to know about slavery. How do they even deal with the shame it must bring to ask people to bring their money to see what your ancestors used to enslave others? Have they thought about it, or don’t they care about what their lineage represent in history? I imagine a private concentration camp in Germany – if there was one – being run today by descendants of the racist anti-semitic people and profiting from it, whether or not their descendants still retain the same level of hate for the descendants of the victims. Or descendants of John Wilkes Booth being the ones in charge of the Lincoln Presidenial Museum earning money by showing off a few of the killer’s tools to the world. Something is definitely wrong there.

My Gmail This Morning

Click on the image to enlarge. Not funny.

On Written English

Prompted by my sister’s observation on reading Larry King’s My Remarkable Journey. “The language is remarkably simple,” she said. The fact is that we have been so used to the literary culture that passes off grandiose English as the only true means of good literary communication that when we see one that pulls off a feat of enchanting us without pretending to be grand, we are pleasantly surprised and are forced to look at ourselves again.

How the literary culture in Nigeria (as borrowed from Britain) successfully evolved into the idea that it is better and more acceptable to write (and speak) as difficult possible when given the opportunity is really beyond me. And for all who bother about it, this is the singular most (de)pressing issue in Nigerian literature today. Not just the language of our writing – which will remain English for a long while – but the way we use it. The argument is long and tedious, and will – if not properly articulated – spill over into very many distracting directions, but what is clear is that we still haven’t mastered the ability to simply write, simply.

My favourite essay of all time is by George Orwell, titled Politics and the English Language(1946), and I’ve always recommended it for anyone wishing to be called a writer. In it, he highlights the very many wrong ways in which we use the English language a famous one being the rendering of a verse in Ecclesiastes in “modern” English. According to him, and I agree, this verse…

I returned and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and chance happeneth to them all.

would most likely be written by today’s writers as follows:

Objective considerations of contemporary phenomena compel the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must invariably be taken into account.

He admits in the end, as I do now, that he too may have occasionally fallen into the temptation to use more words than necessary in order to sound grand, or just for the drought of ideas. Yet, it is inexcusable. There is a reason why I was able to complete Larry King’s book in two days and I’m yet to complete one by a Nigerian writer since more than a year ago, and it doesn’t have to do with their personalties, a glossy cover or their countries of origin. And it is the same reason why V.S. Naipaul is now one of my favourite Nobel Prize winners. There is just something enchanting about a simply but brilliantly-written work.

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