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Nairobi International Book Fair will blow you mind away

The Annual Nairobi International Book Fair, now in its 13th edition is set to take place from September 22 to 26, at the Sarit Centre in Nairobi. Maishayetu spoke to Mr Lawrence Njagi, the chairman of the Book Fair on what is in store for book lovers. Mr Njagi is also the managing director of Mountain Top Publishers.

Mr. Lawrence Njagi

Maishayetu: What does the 13th Nairobi International Book Fair (NIBF) have in store for potential visitors this year?
Lawrence Njagi: As the premier book show in the East African region visitors should come to the book fair expecting to see the best that the region has to offer in terms of books. This means that visitors should be able to interact with these books under one roof, and in a relaxed atmosphere, without being hassled by salespeople.
This is also about the only opportunity that book lovers are able to meet and interact with their favourite authors. What is more, these books are offered at highly discounted rates. This means that bookshops and libraries should take advantage of this offer to stock up. We will also be conducting seminars and workshops on relevant topics like intellectual property rights and digital publishing. Aspiring writers will also benefit from a seminar on how to successfully get published.
All in all, all visitors to the NIBF, from children, the youth and grownups should come to the Fair in the knowledge that their needs will be adequately catered for.
Q: You have been chairman of the NIBF for the last three years now, what have been your achievements so far?
A: When I took over as chairman of NIBF, the average number of visitors to the Fair was 6,000, by last year that number had risen to 17,000. We expect more visitors this year. Two years in a row, all the stands have been fully booked, and the demand for stands is growing. This means increased revenue for NIBF.
This year, we are having the largest number of international exhibitors at the Fair; five from India, two from Nigeria, one each from Senegal, China and Ethiopia. Of course we have the usual exhibitors from Uganda and Tanzania. This is not forgetting other international visitors who are not necessarily exhibitors. This is thanks to the aggressive marketing campaign, we have put in place.
In addition we now publish a free-to-distribute magazine which gives readers relevant information on the book industry.
Q: Kenyan publishers have been accused of being too textbook-oriented and therefore neglecting creative writing.
A: Before you heap all the blame on publishers, it is good to take a look at the bigger picture. A closer look at the system of education in Kenya reveals that it is too exam oriented; therefore putting to much pressure the student to pass exams at all costs. That rigid culture leaves little room for leisure reading, hence the reason many Kenyans don’t see the need to read after they are through with official schooling.
Q: Aren’t publishers contributing to the problem then?
A: First of all you have to understand that publishers are first and foremost business people looking to make maximum returns, and there is no denying the fact that textbooks provide a good source of profits to publishers. But we also have a moral duty to serve the emotional, intellectual and spiritual needs of readers, and that is where non-textbooks like motivational and fiction fall. All we are saying is that the government needs to put in place policies that encourage leisure reading, a good starting point would be an overhaul of the current system of education.
Q: Still, that does not take away the fact that publishers do not market non-textbook materials well…
A: Let me say that when a book is not well marketed, both the publisher and author suffers as both have invested heavily in the publication. This is therefore a call to publishers to cast their net wider as far as marketing their books are concerned. Let publishers make use of all forms of media, print, electronic, the Internet even, to make noise about the availability of their books. In addition to bookshops, we at Mountain Top sell our books in all major supermarkets around the country. Authors too should come up with ideas on how well to market their books.
Q: You mentioned a seminar on digital publishing, are Kenyan publishers ready to embrace this new technology?
A: Publishers need to be dynamic and be able to embrace new technology as it comes along. However, the reality is such that majority of Kenyans still do not have access to electricity, and thus computers are out of reach for many. Stil, there is a generation of Kenyans that is quite well versed in digital technology and these ones have to be taken care of as well.

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Moraa:I have worked hard for Penguin nomination

No Kenyan publisher has ever taken Moraa Gitaa seriously. And while they have generally given her manuscripts a wide berth, Penguin Books, one of the world’s most respected publishers, thinks otherwise.

Out of the 250 manuscripts received all over Africa for the inaugural Penguin Prize for Africa Writing, Moraa’s and five others became the eventual nominees in the fiction category. The awarding ceremony will take place in South Africa next month. And if she wins the award, she stands to take home a cool half a million shillings (R50,000).

The other nominees are Kenya’s Mukoma wa Ngugi, Ellen Aaku from Zambia, Chika Ezeanya from Nigeria, Shubnum Khan from South Africa and another South African Isabella Morris. “Of all the nominees, I am the only one based in the continent,” she says with a touch of pride.

The award seeks to highlight the diverse writing talent on the African continent and make new African fiction and non-fiction available to a wider readership. Apart from the prize money, the winners will also benefit from a publishing contract with Penguin Books South Africa, with worldwide distribution via Penguin Group companies.

Among other things, the judges will be looking for freshness and originality that represent the finest examples of contemporary fiction out of Africa. In the non-fiction category the judges will be looking for serious narratives that examine and explore African issues and experiences for both local and international audiences in an engaging, thought provoking and enlightening way.

Moraa, who is in her mid thirties, believes that her manuscript meets the bill and is confident of winning the overall prize. “I deserve it,” she says defiantly.

When she had earlier presented the same manuscript to a Kenyan publisher, it came back with a rejection note accusing her of having ‘an extremely wild imagination.’

Such a put down would have left an average writer utterly devastated and unable to continue writing, but evidently, Moraa is not your average writer. “I licked my wounds and decided that if no Kenyan publisher is interested in my work, I would look for a publisher outside the country,” she says with a determined look in her face. “I have gone through more trying times in the course of my writing and there was no way I was going to allow such a comment to break my spirit.”

Without elaborating Moraa, who calls herself a pro-women and children’s writer, says her writing gives ‘profound insights’ into the human condition, “and for that you are labeled a controversial writer.”

She explains that she started writing the manuscript way back in 1997. At some point, in 2003, while still writing the manuscript, she developed pneumonia, yet she was staying in Mombasa, the last place you expect a person to catch a cold-related ailment.

“I almost died while writing this manuscript,” she says with a rueful smile. Then, she was working as an administrator in a busy nightclub at the coastal resort city. And in order to get some quiet time to work on her manuscript, she would cover herself in what she thought was warm clothing and sneak into the cold room, where she would put pen on paper, literary.

The effect of those stolen moments in the cold room was the pneumonia she developed later. “The people who knew what I was doing at that time believed I was genuinely mad,” she says. “But if following my passion means that I am labeled mad then so be it.”

Not even the pneumonia could douse the burning ambition she had of becoming a writer. In 2007, she moved to Nairobi, where has been working as a part time editorial consultant. “I shifted from Mombasa as I thought that Nairobi held more promise in terms of getting published,” she explains.

It was not in vain as the following year another of her manuscripts won the National Book Development Council of Kenya (NBDCK) literary award, and with it came a modest cash award of Sh30,000.

When she could not get a publisher locally she took yet another of her manuscripts to Nsemia Publishers, based in Canada. Unfortunately for her the book Crucible for Silver and Furnace for Gold could not be accepted for the Jomo Kenyatta Prize for Literature, for the mere reason that it was published outside Kenya, never mind that Nsemia is owned by a Kenyan.

With the nomination Moraa now feels that her hard work and perseverance is finally being recognized. She adds that it should also serve as enough reason for Kenyans and East Africans for that matter to start dusting their long neglected manuscripts. “If you have a passion for writing you should not give up just because there are not enough opportunities in your home country,” she says.

That is the only way East Africans can ever hope to match their Western and Southern African counterparts, she adds.

If she wins the award, Moraa says that part of the prize money would go towards developing a centre for children with learning challenges. This has been motivated by the fact that her daughter, now fifteen, was born with dyslexia.

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Should we expect a new book from Akinyi?

News that Judith Akinyi could have gone back to her old drugs trade did not exactly catch me by surprise. Although I did not interact with her on a one-on-one basis, after she was released from jail, I nevertheless saw her on many occasions during literary events when she was in the process of promoting her book Deadly Money Maker. The book detailed her experiences as a drug trafficker and on being jailed at the Lang’ata Women’s Prison for the same. Why do I say that it did not come as a surprise to me? First of all, seeing this woman at different events I always got the impression that something was amiss with her. She just did not look settled to me. Could it be that after the publishing of her book she expected ‘more’ from the society? Did she expect to become an instant millionaire from the sale of her book? Hadn’t someone told her in Kenya books don’t move that fast? Or better still hadn’t someone told her that Kenyan book publishers are not exactly good marketers of creative works? Well, after she came out of jail, she became a mini celebrity, what with every media outlet seeking to do an interview with her.

The Standard even made her their columnist. She might her gotten her publicity but the money did not come as fast as she would have expected, and she was starting to get anxious. Shortly after she was released, and the Nairobi literary scene could not get enough of her, I made the following observation on this blog: “All this hype will definitely do a lot of good to the book, which might boost its sales. Hopefully then, she might not be tempted to go back into crime. One thing though, all this hype risks getting into her head…” At that time I had called her with a view to interviewing her for the Sunday Nation, but she flatly refused, asking me to pay her first. That is when I knew that this woman was not genuine, and that she had not reformed. Save from the post on my blog, I never dared contradict fellow literary people who could see nothing wrong with Akinyi. Now that she has been arrested again for the same offence, my only hope is that she pens another book, this time, a blockbuster, from the ‘comfort’ of an European jail cell. I also hope that this time around afungue roho and tell it all. After reading Deadly Money Maker I got the impression that she withheld a lot of information…

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Letter from Washington: The debate continues…

I decided to retrieve the following comment from the comments section, which is in response to the on going debate on Harare North. I felt that it the merits a post on its own. The author is Prof Maurice Amutabi, who teaches History at Central Washington University in the US. Share your thoughts on the comments section below.

Ngunjiri.

I recently came across a debate on Brian Chikwava’s debut novel Harare North sent to me by Joseph Ngunjiri. The issue at hand was that Brian Chikwava is Zimbabwean and his novel on Zimbabwe had been reviewed by a Kenyan. The quarrel seemed to be that a Kenyan cannot review a novel by a Zimbabwean, objectively. The reviewer Joseph Ngunjiri received a lot of flak and direct negative epithets from some Zimbabweans on the fact that as an outsider, he could review a novel by a Zimbabwean. The debate went even further to suggest that Joseph Ngunjiri’s hatred of Robert Mugabe accounted for his biased review of Brian Chikwava’s novel. Of course, I personally do not like or support Robert Mugabe’s autocratic policies, benign or malignant, but I have reviewed books on Zimbabwe and he has never come between. You cannot force people who do not like Mugabe. Zimbabwe is not a preserve for Zimbabwean scholars only. Jester Phiri and other Zimbabweans are wrong to condemn Ngunjiri for reviewing a novel on Zimbabwe.

Zimbabweans have been crying foul in Botswana and South Africa, for being called ‘foreigners’ or makwerekwere. In fact the concept of Bakwere or Makwerekwere is so disturbing that it is a form of apartheid by black South Africans and Batswana against non South African or non Batswana blacks and I find it utterly disturbing. Makwerekwere was originally used to describe non Tswana speakers, but now applies to Zimbabweans, Nigerians and Kenyans, and other Africans who have arrived in Southern Africa in large numbers in the recent past. I condemn the pigeonholing of Zimbabweans in Southern Africa when they are referred to as Makwerekwere, but find it interesting that Zimbabweans are exhibiting the same xenophobic characteristic which they are condemning. The emergence of hostility among and between Africans is worrying. It is interesting to see the fast rate at which these tags of ‘foreign-ness’ in reference to fellow Africans is increasingly becoming common in discussions in many parts of Africa. in Kenya for example, the hostility against Somali refugees has created negative energy against Kenyan Somali, who are now not differentiated from the ‘wariae’ tag that referred to Somalis on the other side of the border. Today, what used to be called ‘Somali Ndogo’ (small Somali) in many Kenyan towns are forced to endure constant raids by security personnel for illegal immigrants and search for ‘terrorist suspects’. In the past these settlements were regarded as part of Kenya’s urban sprawl, and normal. They were like Kisumu ndogo (little Kisumu) for Luos, Kiambu ndogo (little Kimabu) for Kikuyus, and Keroka ndogo (little Keroka) for Abagusii, and Kakamega ndogo (little Kakamega) for Abaluiyia, Masaku ndogo for the Akamba (founded by second hand Kamba used tire/tyre dealers throughout East Africa), and other ethnicities throughout the country and region.

There is no doubt that there are differences between some African nationalities but when the difference is based on hatred more than unbiased markers of identity, this becomes a point of concern. Why can’t scholars study other countries without being subjected to negative energy? It is quickly appearing as if someone from Kenya cannot study Uganda objectively or vice versa, or that a Tanzanian cannot discuss a Namibian issue or vice versa, impartially. This is negative for scholarship on Africa. It means that very soon, I will be told that I cannot study northern Kenya where the bulk of my research has been conducted on NGOs working among pastoralist, because I am not a pastoralist. This trend is likely to stifle academic freedom and creativity. I recall with nostalgia when in high school in Kenya we read books by writers from across the continent and critiqued them. They allowed us to have a continental perspective. We read Elechi Amadi’s The Concubine, Ngugi wa Thiong’o’s The River Between, Peter Abraham’s Mine Boy, Cheikh Hamidou Kane’s Ambiguous Adventure, Mongo Beti’s The Poor Christ of Bomba, Okot p’Bitek’s Song of Lawino, Cyprian Ekwensi‘s Jagua Nana, among others. These novels did for us what a textbook can never dream of doing.

I am therefore stunned to hear the emergence of ‘space’ and ‘turf’ wars among scholars. Not long ago, I saw the emergence of this wars among scholars in the Diaspora as well. I have been taking students from Central Washington University to Africa and most recently took them to South Africa (Kenya is under State Department advisory and CWU does not allow official travel there by students). I was surprised to receive two clearly hostile messages from two black South African scholars based in the US like myself, criticizing the itinerary of my trips (since rhe syllabus and itinerary was posted online). They were annoyed that I took the students to places they thought were demeaning to the good history of black South Africa. They were unhappy with the fact that I took my students to the Voortrekker Monument Museum, in Pretoria, which celebrates Afrikaner (Boer) history. I have never seen such a biased museum anywhere in the world, and in fact think that Voortrekker Monument is an aberration of the history of South Africa because of some of the lies in the museum. But after visiting the Apartheid Museum in Johannesburg and the Hector Pieterson memorial in Orlando West, Soweto and the Regina Mundi church in Soweto, all of which celebrate Black resistance, I thought it was fitting for the students to visit the Afrikaner monument as well, in order to have a full perspective of what happened in apartheid South Africa. The students could tell the subtle differences in ways in between the places we visited were presented. The point I am trying to make is that as scholars we should be tolerant of others’ views and allow for multiple interpretations, even those we do not agree with.

Another good example of this increasing intolerance is when a non Nigerian scholar, Dr. Saine travelled to Nigeria for few weeks and had the ‘audacity’ to comment about his visit to that populous (although it has never had an official census acceptable to all since independence, so we do not know if it has 90 million or 120 million people) African nation. Dr. Saine received a lot of negative criticism from Nigerian scholars and others, for simply writing about Nigeria. He was attacked by Qansy Salako, Valentine Ojo, Obododimma Oha and Pius Adesanmi. Ed Amatoritsero wrote, “He [Dr. Saine] is a professor who studies Africa but had never been in Nigeria until May of 2009. Then he did visit Nigeria and lived in VI (Victoria Island) – the Island jewel in the midst of Lagosian rot – according to his travelogue. I was in Nigeria at the same period – in May of 2009. I think we must have visited two different Lagos-es.”

Another scholar Dr. Valentine Ojo, MD wrote,

My take on this outburst then and now, was that this is academic violence of the highest order. This is a form of academic gangsterism that is increasingly becoming entrenched in African scholarship and should be condemned. Those who defended Dr. Saine were not spared. They were called names, bad names. One of them was Dr. Kwabena Akurang-Parry whose crime was to say that the he found the article by Dr. Saine to be insightful. Here below is what Dr. Valentine Ojo wrote:

Then Valentine Ojo launched into Kwabena Akurang-Parry for using the word insightful to describe Dr. Saine’s piece.

What bothered me about the attacks was that the Nigerians were undermining Dr. Saine’s report without presenting to us their own reports. It is not different from the attacks on the Kenyan reviewer Peter Ngunjiri, whose crime is that he reviewed Brian Chikwava’s novel Harare North. What one would have expected is a Zimbabwean scholar to point out to a review of the same novel by a Zimbabwean scholar and show the differences that he would have noted. So far, there is no review of the novel by a Zimbabwean. So, does it mean that the rest of the world should just sit and wait until a Zimbabwean reviews the novel?

Below are some of the extracts from the negative exchange on the review of Brian Chikwava’s novel Harare North by Joseph Ngunjiri:

Jester Phiri in Harare writes
I read Ngunjiri’s review of Chikwava’s debut novel, Harare North (October 14, 2009) with some irritation. It seems to miss the essence of a remarkable novel, pioneering in style and innovative in content.
Is Ngunjiri confusing his obvious distaste for Zimbabwe’s government with a novel that at least tries to deliver the realities of a country in turmoil? Or is he trying to get one up on the Zimbabwean writer? Is it possible for a Kenyan reviewer to fully appreciate what Chikwava has accomplished in telling the ‘Zimbabwean story’?
The Editor responds
To paraphrase a Kenyan novelist Ngunjiri might well say “I write what I like”. Is it not, after all, interesting to have an African perspective on a Zimbabwean novel?
• Saturday, 15 May 2010 09:48 posted by Joseph Ngunjiri
I think Jester Phiri misses the point when he claims that I am trying to get one up on Brian Chikwava. Why would I do that? And who says that I have an “obvious distaste” for the Zimbabwean government, which, he rather testily says I confuse the novel?
Why is Phiri being so defensive – on behalf on the author? His is a case of if you don’t like something, give it a bad name, or worse kill it – does that remind you of Mugabe? – Fact is you cannot divorce Harare North from issues surrounding Mugabe’s ZANU-PF, and the question of exile.
About whether a Kenyan can “fully appreciate” the “Zimbabwean story”, all I can say is we are now living in a globalised world, and oh, Chikwava is now a global citizen

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Q&A with Abidemi Sanusi

Abidemi Sanusi, a Nigerian author, will launch her book, Eyo later this evening, April 7, 2010, at the Nairobi Serena. Eyo, was nominated for the 2010 Commonwealth Writers Prize for Africa. It tells the story of Eyo, a young Nigerian girl who is taken to the UK where she is turned into a sex slave. This book exposes the evils of human trafficking and it is a call on readers to make steps to bring an end to this vile trade. The book is published by WordAlive an indigenous Kenyan publisher. Maisha Yetu sent some questions to Abidemi and she graciously answered them below

Maisha Yetu: What does the Commonwealth prize nomination mean to you?

Abidemi Sanuni: The Commonwealth Prize means a great deal. It’s a prestigious Prize and to be nominated is an honour in itself.

The author in a book signing session

MY: In terms of modern literature Kenya is way behind Nigeria, especially in creative writing, yet you were published by a Kenyan, how did this come about?

AS: I wouldn’t say that Kenya is behind Nigeria in literature or indeed in anything! I facilitated a writing workshop at the University of Nairobi yesterday courtesy of the Department of Literature and I can honestly tell you Africa has a new generation of writers with experimental and innovative ways of bringing African literature to the global marketplace. In terms of meeting Wordalive, this was done through my literary agent. He submitted my manuscript to them and they liked it. The rest, as they say is history.

MY: Is there any hope of eradicating human trafficking especially child prostitution in Africa?

AS: There is always hope and a way to eradicate child trafficking in Africa. A wise person once said that evil thrived when men do nothing. As long as we do nothing about childtrafficking, it will continue to thrive.

MY: It took you seven years to write Eyo, why was it so important for you to write this book?

AS: Eyo was inspired by my time in the field as a human rights worker and also, child trafficking is a real problem in Nigeria. It’s a pandemic and writing Eyo was my way of raising awareness of the issue.

The book cover

MY: Reading Eyo one can tell that you put in a lot of research into this book, what would you tell up-coming authors who think they can dispense with research and yet expect their books to be well received.

AS: Research adds depth to a writer’s work. Without it, a book doesn’t quite satisfy and leaves the reader unfulfilled.

MY: How has Eyo been received in Nigeria?

AS: Eyo is not yet available in Nigeria

MY: Eyo was the only book, among the Commonwealth nominees, published by an indigenous African publisher, what does this say about African publishing – does it mean that African writers have no faith in their publishers?

AS: African publishing has suffered a great deal in the few decades or so but there is a new generation of publishers such as Wordalive in Kenya and Cassava Republic in Nigeria who are doing amazing work to restore African publishing and put African literature back where it belongs; with the people and accessible to the rest of the world.

MY: What do you think hinders the marketing of African books within Africa, yet books by Western writers are readily available all over Africa?

AS: There used to be a disdain for local literary talent caused in part by bad writing, atrocious editing and poor quality printing. Within this context, you can see why Africans didn’t support local writers. International writers are backed by well heeled western publishers who have the funds to market and promote their authors well in Africa and that is why you see their books in the African marketplace. But that is changing with people like Wordalive who are restoring African literature to its former glory.

MY: Any plans for writing a sequel to Eyo?

AS: There are no plans for a sequel.

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Nigerian published by Kenyan is commonwealth nominee

Having a relative in Europe or in the US is normally a source of pride for many families, particularly in Africa. This is reinforced by the fact that these relatives occasionally send much needed money back home.
To these people it does not matter what their loved ones do out there as long as the funds keep flowing. In her book Eyo, Nigerian author

Book Cover

Abidemi Sanusi addresses an issue many African families, with relatives abroad, would rather not talk about. In fact human trafficking and child prostitution is an issue many governments are very shy to talk about.
Eyo is the name of a 12-year-old illiterate Nigerian girl, who is taken to the UK with promises of a good job and education. For a girl used to hawking ice water in the heat and sun of Lagos streets, this would seem like a dream offer, right?
Wrong. Eyo would rather she remains in the lawless Ajegunle Slum than leave her four-year-old sister Sade in the amorous hands of her father. There is a secret understanding between Eyo and her father that he would only leave Sade alone if she continues to satisfy his sexual needs.
She lands in the UK and into the hands of a Nigerian couple Sam and his wife Lola. While the couple has no problems having Eyo take care of their children, who are almost Eyo’s age, they are also not averse at turning her into their punching bag. That’s not all. Sam seems to have found a source of relieving his perverted sexual desires.
He, in the process, discovers Eyo’s ‘expertise’ learnt through her father back in Nigeria. It is this expertise that makes the poor girl a favourite at Big Madame’s – another Nigerian – brothel among clients looking for ‘special care’. This is after Sam is finished with her.
Eyo eventually ends up prowling the streets, trading in her body under the watchful eyes of Johnny, yet another Nigerian, her abusive boyfriend cum pimp.
When Eyo is finally rescued from the streets and taken back to Nigeria, she discovers to her horror that her father eventually made good his threat of turning Sade into his sexual object, the moment she left for the UK. The mother knows this all along but will not do anything about it as it is the duty of a woman ‘to endure’.
Abidemi admirably uses fiction to open the lid on the sensitive subject of human trafficking and more so child prostitution. Today, it is an open secret that child prostitution rings continue thrive worldwide, while authorities continue to look the other way.
Through her narrative style the author manages to bring out the readers’ anger at the cruelty of it all. However, as the story unfolds the anger paves way for helplessness. The helplessness starts creeping in as it gets increasingly apparent that the perpetrators of this vile trade are getting away easily. The fact that they are able to manipulate the law to their benefit goes to show child prostitution is not about to be brought to an end.
The book ends on a rather dark note as Eyo, faced with despondency and poverty back in Nigeria, considers going back to the UK and back to prostitution. Perhaps this is the author’s way of saying that the African girl child will continue to be an endangered species for a long time to come.
Eyo has been nominated for Best Book in the 2010 Commonwealth Writers Prize.

The book is published by WordAlive Publishers

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Wahome Mutahi Prize, call for entries

The Kenya Publishers Association (KPA) is calling for the submission on entries for this year’s Wahome Mutahi Literary Award. Both members and non-members of KPA are eligible to enter. Submissions should include five copies of the book, which are not returnable. The entry fee for members is Sh5,000, while that of non-members is Sh10,000. Entries should be received at the KPA secretariat by March 31, 2010. The Wahome Mutahi Literary Award was started by KPA in honour of the late humorist and author, for his contribution to the written word in Kenya. Judges pick out the book that use humor and satire to explore areas such as human rights, governance, etiquette and other relevant social issues. The first edition of the prize, awarded after every two years, was held in 2006 and was won by Onduko bw’ Atebe’s book, The Verdict of Death. Okoiti Omtata won the 2008 edition with his play Voice of the People.
These are the rules and regulations from the Kenya Publishers Association.
ELIGIBILITY
The Wahome Mutahi Literary Award is the brain-child of the Kenya Publishers Association. It was established in 2004 and is open to Kenyan writers whose work is published in Kenya. The prize will be given bi-annually to the author of the most outstanding new book that will use humor and satire to explore areas such as human rights, governance, etiquette and other relevant social issues in the following categories:
Adult Fiction:
a. English and
b. Kiswahili

PRESENTATION
The Prize will be presented during the 13th Nairobi International Book Fair to be held in September 2010.

RULES GOVERNING THE AWARD
The following rules must be adhered to:
1. Eligible entries for the 2010 Prize are those books published in 2008 and 2009 respectively.
2. Any original work of fiction written in English or Kiswahili will be eligible.
3. All entries must be submitted through the publisher.
4. In order to qualify, all entries submitted must be published in Kenya.
5. Generally, any book submitted should have a minimum of 48 pages.
6. Only published works are eligible
7. The quality of content will be the overriding criterion. The following however must be taken into consideration when submitting a title: quality of binding, cover design, quality of paper, quality of illustrations where applicable, and general layout.
8. Five non-returnable copies of the submitted title(s), accompanied by an entry form must be sent to the undersigned as soon as possible but not later than March, 31st 2010. A summary of the work and reasons for its suitability must be submitted together with the entry form.
9. The decision of the Judging Panel and the Awards Committee for the Wahome Mutahi Literary Award will be final. No further correspondence will be entered into in connection with the Award.

Mailing Address: The Executive Officer
Kenya Publishers Association
P.O. Box 42767, 00100
Nairobi

Physical Address: Kenya Publishers Association
Occidental Plaza
2nd Floor,
Muthithi Road, Westlands

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The first review

Following the release of my book Henry Wanyoike: Victory Despite Blindness I am glad to announce that it has received its first review, mostly positive, in the Sunday Nation of October 25, 2009. The review was done by Ng’ang’a Mbugua, a journalist with Daily Nation. He is also a published author with several titles to his name. They include Mwai Kibaki: Economist for Kenya, Catherine Ndereva: Marathon Queen, among other. His latest offering is Terrorists of the Aberdare, a novella, which he has self-published. I hereby include an excerpt of the review.

Ngunjiri’s book, however, is distinguished by the fact that he is among the authors in the series who wrote his book with the full co-operation of their subjects, which cannot be said of some of the earlier biographies. And for that, the book is rich with insights that would otherwise have never made it to the public domain.

You can read the rest of the review here.

Remember, you can order it here

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Shape of things to come…

Friends, I have waited for this moment for a very long time (sounds rather cliched eh?) Ok let me rephrase it; I’ve always longed to be a published writer and the dream is almost coming to fruition. My very first book a biography/autobiography – someone tell me what to call it as it is written in the first person – of the celebrated blind athlete Henry Wanyoike ,Victory Despite Blindness (Sasa Sema/Longhorn), should be out today – that is what the publishers told me – and I can’t wait to lay my hands on my copy, er, copies.

wanyoike

They however sent me an image of the book cover, which I am sharing with you. If all goes according to plan, the book should be on sale during the Nairobi International Marathon on Sunday – remember Wanyoike is an ambassador for the race – I will also try my hand at running the 10 kilometer race, purely for selfish reasons.

You can grab yourself a copy from next week at leading bookstores and online on www.enrakenya.com

Now the Swahili have a saying to the effect that Kinyozi hajinyoi – loosely translated to mean that the barber cannot shave himself – I can’t review my own book. I am looking for someone to review it for me to be published here. Any offers?

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And the winners are…

Kenya Publishers Association announced the winners of the Jomo Kenyatta Prize for literature at the end of the 12th Nairobi International Book Fair. They are:

Adult English Category: 1st position: Blossoms of the Savannah by Henry ole Kulet (Sasa Sema/Longhorn)
2nd position: Hawecha: A Woman for all time by Rhodia Mann (Sasa Sema/Longhorn)
3rd position: The Big Chiefs by Meja Mwangi (East African Educational Publishers)

Adult Kiswahili Category: 1st position: Kyalo Wamitila’s Unaitwa Nani? (Wide Muwa).
2nd position: Vipanya vya Maabara by Mwenda Mbatiah (Jomo Kenyatta Foundation)
3rd position: Kala Tufaha by Omar Babu (Phoenix)

Youth English Category: 1st position: Walk with me Angela by Stephen Mugambi (Kenya Literature Bureau).
2nd position: Lake of Smoke by Juliet Barnes (Phoenix)

Youth Kiswahili Category: 1st position: Dago wa Munje by Sheila Ali Ryanga (Jomo Kenyatta Foundation). Apparently there was no second or third positions here. A little bird tells me the entries were awful.

Children’s English Category: 1st position: The Prize! by Elizabeth Kabui’s (Oxford)
2nd position: On the run by Mwaura Mwigana (Oxford)
3rd position: A Mule Called Christmas by Nyambura Mpesha

Children’s Kiswahili Category: 1st Position: Kisasi Hapana by Ken Walibora (Oxford)
2nd position: Sitaki Iwe Siri by Bitugi Matundura (Sasa Sema/Longhorn)
3rd position: Ngoma za Uchawi by Atibu Bakari (Kenya Literature Bureau)
Winner in the adult categories each got Sh150,000 each, while winner in the youth and children categories got Sh75,000 each