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Raila Odinga: My life at Magdeburg University

When Jaramogi Oginga Odinga sent his son Raila Odinga to communist East Germany, it was on the firm understanding that he would eventually study Medicine, despite the fact that the son was inclined to the arts.

This was in 1962 and Raila was only 17. He had just left Maranda School. In Germany, he was enrolled at the Herder-Institut in Leipzig, which had been a faculty of the prestigious Leipzig University.

“Students would arrive from many different parts of the world, having gone through widely varying education systems, so there was a need for them to be harmonised into the German system and to pass a university entrance exam before they could be admitted to any German institution of higher learning,” writes Raila in his book the Flame of Freedom. “The Herder-Institut was thus a combination of high school and language school.”

“I was just coming out of primary school, so I had to go through the Herder-Institut’s high school programme, taking three and a half years, along with fellow students from Latin America, Asia, the Middle East and many other non-German speaking places,” he adds.

Among his colleagues at the Institute was Moses Keino who would later become Speaker of the National Assembly. Keino had however finished his ‘O’ Level studies back in Kenya, so he only spent a year at the herder-Institut before joining university.

Keino struck friendship with Etta Kirui, a Kenyan girl who had come to Leipzig to further the Nursing course she had acquired in the UK. The friendship blossomed into romance and soon, they were married, with Raila acting as the Emcee.

Their studies included a mandatory three-month basic German language course. “At the end of the three months, I came second to Ruhti in the German language exam,” writes Raila. “Coming from German-speaking Switzerland, he had an advantage over me.”

Back to the ‘Medicine course’.

The path to medical school involved studying Maths, biology, physics and chemistry. During his second year of study, the students had to do some practicals, at a local hospital, which involved the study of human anatomy. This is where a ‘problem’ arose.

“To my horror, the students were practicing on cadavers, cutting them up and examining various pieces of the dead bodies. I looked at it and just felt sick,” writes Raila. “I knew immediately that I was not cut out for medicine.”

Thoroughly traumatised, Raila threatened that he would go back to Kenya, if the institute’s administration did not allow him to change his course of study to Mechanical Engineering. “Changing courses initially put me at a disadvantage,” he writes. “The engineering students had completed courses in subjects I had not been studying… I had to work extra hours to catch up.”

Raila says that at the end of the three-year course, he passed ‘in all the subjects with high marks’ and was admitted to the Magdeburg College of Advanced Technology, which eventually became the Magdeburg Otto-von-Guericke University. “I chose Magdeburg because it specialised in heavy engineering,” adds Raila.

According to the book, Raila was at Magdeburg between 1965 and 1969.

At Magdeburg, Raila was the only African student; the only other African (a Sudanese) chose to identify himself with Arabs. He remembers a certain Norbert Shonborn who was jolly and full of jokes. He was the class clown. “He unfortunately failed his exams and was expelled,” says Raila.

His roommate and best friend in campus was Roland Obst, a German. “We would meet up again, many years later as middle-aged men, at a 2007 college re-union, we attended with our wives,” he writes.

It is at Magdeburg, Baba had his first taste of romance with a girlfriend named Huldegund Ruge, who was studying Chemical Engineering. The girl was fascinated by Africa and since Baba was the only African in a group of 300 students. It is easy to see why she was attracted to Raila.

That romance lasted only six months and Baba hooked up with another German, a school teacher named Margita. “…she used to come see me in Magdeburg, while I also visited her in Arendsee… I stayed with her several times and would take my books to study while she was working… It was a very happy and pleasant time,” writes Baba.

During his time at Magdeburg, Raila was the secretary general of Federation of Kenyan Students in Europe (KFSE). This involved a lot of travel in European countries attending student gatherings. At some point he was scheduled to travel to Moscow. Baba had written a telegram to his brother Oburu, who studying in Russia, so he could pay for their visa and clear them at the airport.

The telegram did not get to Oburu on time, leading to a lots of frustrations by uncooperative airport officials. Fed-up with the frustrations, Baba and his friend decided to hop into a taxi and get to their destination without visas. Airport officials stopped the taxi and ordered the two out. By the time Oburu arrived to sort them out, Baba had already been deported back to Berlin!

Did you know that when the famous American Jazz artiste Neil Armstrong came for a concert in Magdeburg, Baba was hired as an interpreter!

He explains that the courses at Magdeburg were extremely rigorous and that the dropout rate was high. “Of the original 40 in my group, only 17 of us eventually graduated,” explains Baba.

Baba graduated with Upper Second Honours (Gut) in Production Technology, which qualified him to register for a PhD, which he did, but failed to take up the offer.

The Flame of Freedom is published by Mountain Top Publishers.

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Arts Culture Featured Personalities Travel Uncategorized

Adrian, the ‘lion-hearted’ artist

It is long since I last sat down with Adrian Nduma and the Covid restrictions were not helping matters. Being one of the top rated visual artists in Kenya, I have always been amazed by his works; they are so breathtakingly real.

The other day I went for a meeting in Karen and it occurred to me that this would be an ideal opportunity to hook up with Adrian; after all, his studio is situated in nearby Dagoreti Corner. I called him and he told me that he was on his way to Rongai and if I would call him when I was through with my meeting to see where he might be.

After my meeting, I called back and by coincidence, Adrian was in Karen. He asked me to join him at the Talisman Restaurant. When we met up, he put on a horrified face when I told him that it was my first time at the Talisman. “What! Tembea Kenya bana.” I had to defend myself saying that with ‘working from home’ I don’t get out much.

My main reason for meeting with Adrian was basically to touch base, and not necessarily discuss arty things – although you can never avoid that.

Once settled down and with our pots of tea on the table and the initial pleasantries done with, Adrian told me that he had gone to Rongai to supervise a project he is undertaking there. Our talk then drifted to construction, building materials and the rest, but he could not bring himself to discuss exactly what project he was undertaking and I did not press.

Would you, when you are enjoying specially brewed tea and exotic samosas at the Talisman? Me, I decided to enjoy the ambience and the piped music that was filtering through. On the walls, there were some art pieces and Adrian told me that an exhibition was currently ongoing.

The artist, whose works were on exhibition had used mixed media, including pieces of clothing on the canvas. This style reminded me of an artist named Kamicha; I wondered where he is today. He has been missing in action lately. Adrian, too, wasn’t aware of his whereabouts.

The Talisman is also an outlet for Adrian’s works and he has exhibited a number of his works there. Little wonder that he was quite at home there; the staff were passing over to say hi. You could also tell from the personalised service we got there.  He is some sort of a celeb there.

The Talisman has this cool, homely ambience about it. From the entrance, the establishment looks deceptively simple. There is a bright yellow vintage pick-up truck at right at entry, in spic spac condition. Now, this tells you people who patronise this place appreciate the finer things life has to offer.

This immediately manifests itself when you step inside. Well, not many establishments hold active art exhibitions, so that tells you the kind of clientele that frequents there. They are the sophisticated type.

Sophisticated does not necessarily mean wealthy – although you need to be rather well endowed to be able to appreciate FINE art. We have moneyed individuals in this country, whose idea of art is what their kids do with pencils and drawing books in school. I hope this gives you a rough idea of who frequents joints like the Talisman.      

Inevitably, Adrian and I find ourselves talking about his art. He tells me that with the Covid restrictions, he’s mainly been involved with commission works, and which has kept him gainfully occupied.

Since his studio is within his residence, Adrian told me that there are times when inspiration strikes, forcing him to wake up in the dead of the night to work on his paints and brushes, to produce magic on a blank canvas.

“I work best with music playing in the background,” said Adrian, a former banker. And what is his favourite kind of music, I ask. “Well, I like all kinds of music as long it strikes the right chords in me,” he said, adding that he even finds certain genres of vernacular music appealing.

And on that musical note, I seized the opportunity to ask him a question I have always wanted to take up withhim; his uncanny resemblance to Gikuyu Benga artiste Kariuki Kiarutara. He smiled wanly and acknowledged that he has indeed been told of the resemblance a few times. “But looking at Kariuki’s pictures, he doesn’t have a moustache, unlike me,” he protested weakly.

He added that he gets spooked by people who look like him, but he promised to check out Kariuki’s music on Youtube, especially after I told him that his music packs heavy messages and is comparable to the late Joseph Kamaru.

Like all visual artistes worth their salt, Adrian is also an ardent art collector, including his own art. “I collect my art for posterity sake,” he said. “That forms part of my children’s inheritance. Once I feel that a particular piece of art should go into my collection, I simply roll it up and put it aside. It doesn’t get to be viewed.”

And while he has made a name courtesy of his diverse variety of art, the Lion series stands out as perhaps his signature. Before talking about the significance of the lion in his works, Adrian reclines back on his seat, takes a deep breath and with a far-away look, says that he cannot get enough of drawing the lion.

“It is not for nothing that lion is king of the jungle,” he says. “There is a lot of mystery surrounding it. Of all the animals I think it is the lion that comes closest to man, in terms of personality.”    

As our conversation draws to a close, we agree that we should catch up more often.

PS: Did you know that in 2013 Adrian wanted to be the governor of Embu?

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Arts Books Events Issues News Personalities publishing Reviews

Three needless murders and a writer’s vengeance

History has a funny way of repeating itself, especially if we do not learn from it.

In 1980, Frank Sundstrom, an American marine landed at the Kenyan coast, where he met Monicah Njeri. Njeri was what you would call a sex worker, yaani alikuwa anatafutia watoto.

One thing led to another; the two had sex, as would have been expected in such a transaction. Much later, while having drinks, Sundstrom, who claimed to have been unhappy with the ‘services’ offered, beat up Njeri, killing her in the process.

He smashed a bottle on Njeri’s head and used the broken bottle to stab her to death. He later made away with Njeri’s money.

32 years later, Agnes Wanjiru, like Njeri, met a British soldier in Nanyuki. The same thing happened and the soldier, who is yet to be identified, murdered Wanjiru and threw her body in a septic tank. Like Njeri, Wanjiru was also stabbed to death.

While Sundstrom was arrested and subjected to ‘trial’, the British soldier literally got away with murder, until about two weeks ago, when a fellow soldier decided to go public with what he knew. Britain’s Ministry of Defence thought they had successfully covered up the murder, until now.

Following an inquest in 2019, judge Njeri Thuku concluded that Wanjiru had been murdered by one or two British soldiers. The whistleblowing soldier told UK’s Sunday Times that the killer had confessed to him and he reported it but the army failed to investigate.

As for Njeri, the murder trial was presided over by a 74-year-old British expatriate judge, who released Sundstrom on a 70 dollar, two-year ‘good behaviour’ bond.

This is what the Washington Post wrote about the case then: “The verdict has brought an outcry for judicial reform from Kenyans, who point out that Sundstrom was tried by a white British judge. The white prosecutor, also British, “instead assumed the role of the defense counsel,” the daily East African Standard of Nairobi charged.”

They say why hire a lawyer when you can buy a judge.

Enter Peter Kimani. In 2002, 22 years after Njeri’s murder, Kimani, then a journalist with the East African Standard, wrote his first novel, Before the Rooster Crows.

In the book, Mumbi, whose father had turned her into a wife, runs away from her village in Gichagi, to the city (Gichuka), in search of better life. To survive in the city, Mumbi turns into a flesh peddler.

Much later, she is joined by Muriuki, her village sweetheart.

Mumbi is willing to leave her old profession so the two can settle down as man and wife, but then a news item in the papers catches her attention. A ship full of American marines docks at the coast (Pwani). Mumbi convinces Muriuki to accompany her to the coast, for ‘one final job’, before finally hanging her, er, petticoat.

At the coast, Mumbi alijishindia a soldier named Desertstorm. After sex Desertstorm claims that he got a raw deal and demands his money back. A fight ensues and the marine stabs poor Mumbi with a broken bottle, a number of times, until she dies. He steals Mumbi’s money after killing her.

Muriuki happens to witness the entire episode through a keyhole, from an adjoining door, too cowardly to intervene.

Desertstorm is hauled before a British judge, who despite the overwhelming testimony against the suspect, sets him free ‘on condition that he signs a bond in the sum sh500 to be of good behaviour for a period of two years’.

Remember, Mumbi’s unlike Njeri and Wanjiru’s case, is fictional and Kimani, the author controls the narrative. Before the Rooster Crows is a historical novel and the author is out to right a historical injustice committed in 1980.

How does he do it? Stay with me…

Following the injustice occasioned on his girlfriend, through the courts, Muriuki tracks down Mumbi’s killer and strangles him to death.

Cue another trial, this time with Muriuki on the dock. Meanwhile, there is huge outcry and judge – the same one who freed Desertstorm – recuses himself from the case. It becomes clear that justice might finally be done, or would it?

In the intervening period, a bill is brought before parliament to the effect that the president can intervene in an ongoing case and deliver judgement. That is precisely what was done and Muriuki was sentenced to death.

This was obviously a case of foreign interference, just like in Njeri’s case, to arrive at crooked justice.

However, in the realm of fiction, the author has is in charge and that is how he ensured that Mumbi gets some justice, no matter how rough.

Now, since we did not learn from the 1980 murder, that is why history had to repeat itself with the Nanyuki murder.

This book is a must read for anyone interested in good writing. I wonder why the fellows at the Kenya Institute of Curriculum Development (KICD) have to engage in the charade of looking for setbooks, when such a gem gathers dust on bookshelves.

Kimani’s publishers, EAEP, should tell readers if the book is still in circulation.

Kimani is also the author of Dance of the Jakaranda, another historical novel, which is doing well internationally.

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Arts Books Culture Personalities publishing Uncategorized

Chakava, the father of African publishing

Henry Chakava, has been referred to as the father of African publishing for good reason.

He would have easily made a career in the academy but he chose publishing instead. In 1972, he joined the then Heinemann Educational Publishers as an editor. In a span of six years, he had risen to the position of managing director.

In the early nineties he bought the company from its UK owners and named it East African Educational Publishers. However, the most enduring part of his story is how he led his company to publish more than 2,000 tiles of culturally relevant books – which include fiction – the largest by a local publishing house.

He managed this by balancing between publishing school publishing – the bread and butter of local publishing – and publishing for leisure/fiction.

Despite the fact that his employers, Heinemann, were the publishers of the successful African Writers Series, he kept receiving manuscripts which he felt would fit into a new genre of adventure, romance and crime.

He floated the idea to his bosses in the UK but they flatly rejected the idea. He would not take no for an answer and went ahead to start the Spear Series, which became so successful, that Heinemann had to start a series of their own called Heartbeat.

Chakava received the manuscript of My Life in Crime from Kamiti Maximum Prison, where the author, John Kiriamiti, had been imprisoned for robbery with violence. To date, My Life in Crime remains Kenya’s best-selling novel.

It should be remembered that Chakava is also Ngugi wa Thiong’o’s publisher. For Chakava, publishing Ngugi was a challenge, a risk and reward.  Challenge in the sense that as a committed writer, he expects the publisher to share his vision. And for that he has given Chakava all the due respect.

Another challenge had to do with distribution of his works following Heinemann’s take over by East African Educational Publishers. Without the network of distributing the works abroad, Chakava had the daunting task of distributing them.

The risk came from the fact that Ngugi, in the 70s, was deemed as anti-government, controversial and a rebel. And that came with a stigma. And isolation. And the reward came because Ngugi’s books were intellectually and commercially rewarding as a recognised name.  

When, in 1980 word spread that Chakava was about to publish Ngugi’s book, Caitani Mutharabaini, (Devil on the Cross) written in detention, he started receiving threatening phone calls. When the aggrieved parties – suspected to be government agents – saw that he was unrelenting, they decided to move their dastardly action to the next level; assassination. Chakava was waylaid as he was about to enter his Lavington home, by thugs armed with all manner of crude weapons. He was only saved by headlights of an oncoming vehicle. The thugs dispersed but not before a machete, aimed at his head, almost severed his small finger.

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Nyanchwani’s tough love Memos to men

Title: 50 Memos to Men

Author: Silas Nyanchwani

Publisher: Gram Books

Price: sh1250

Reviewer: Mbugua Ngunjiri

Growing up in the village, you would occasionally overhear grown-ups say things like: “Huyu mtoto ni mwerevu kuliko miaka yake.” This was often in reference to youngsters perceived to be intelligent beyond their years.

Now that I am a certified elder, the above notion crosses my mind every time I read a post – mostly on Facebook – authored by Silas Nyanchwani. That is why whenever he makes an announcement to the effect that he has a book out, I want read what he has written.

His first offering Sexorcised, had some sections that left me blushing. While I can’t remember the last time I read a novel in the erotica genre, Nyanchwani proved that we have some hidden talent amongst us, wah!

But I digress.

I am here to talk, or rather, to write about 50 Memos to Men – his latest book – and I have been wondering to myself, where does the author get wisdom to talk about relationships so authoritatively? Isn’t this a case of mtoto kuwa mwerevu kuliko miaka yake?

Anyone who doesn’t know Nyanchwani, getting the chance to read Memos, would most likely assume that this the product of a greying man, with grey, bushy eyebrows, given to wearing frumpy sweaters, peering above horn-rimmed spectacles, balanced on the bridge of their nose.

First of all, how long has Nyanchwani been in the marriage institution, if at all he is married, for him to be dispensing such wisdom? Just the other day, Nyanchwani and I worked at The Nairobian, when the tabloid was flying off newsstands. Then, he was writing a column, whose content always rubbed the female gender the wrong way. Such was the controversy.

So where did he learn these things?

Then and now, I always marvelled at how, this quiet, soft-spoken young man courts controversy so effortlessly, like the time he attacked Mukimo – one of my favourite dishes – so badly, I think I trolled him on Facebook. Awachane na Mukimo kabisa.

Again I digress.

After I finished reading Memos, I got away with the feeling that this can only be the product of careful observation of human behaviour. Everything he writes resonates deeply and ticks all the right boxes. We all have our fair share of relationships, hence reading the book is like walking into a room full of familiar faces. Whatever is written here, resonates so deeply at a personal level.

Talking about familiarity, well familiar faces come with different memories, not all of them good. Some can be downright traumatic like when one suffers a painful heartbreak (character development?) So, what is the advice for men who have suffered break-ups? “…once she tells you it is over, bro, don’t ever beg…nothing you will ever do will win her back,” says the book, adding. “When a woman breaks up with you, 99 per cent of the time, she has a backup plan.” Savage.

One thing I enjoy about Nyanchwani’s writing is that he gives it to you straight, like bitter, but effective medicine. Call it tough love, but Memos is not about babysitting grown men, who think the world waits for them to make up their minds. The kind of advice dispensed in this book is a bit like the child that rans to its father, eyes bawled up, from an altercation in the playground, only for the parent to give them a proper hiding; to man them up. Hakuna kubembeleza.

Nyanchwani has this unique ability to bring out, on paper, the things you only think about in the deep recesses of the mind; making it look so easy, yet packing them with so much sense. That, to me, is the sign of a good writer.

It is rather obvious why most women get exasperated by his writing; he almost always gives men ‘bad’ advice. Listen to this “…unless she is your mother or sister, don’t even give a woman money…my stingiest friends get laid more, or even get paid for their cabling services…trust me, men who treat women better hardly get anything good in return.” Hmm…

Isn’t it funny how he pummels women’s sensibilities, yet they keep coming for more. Well, that is what eloquent, persuasive writing does for you.

Still, his is not the blind, see-no-evil hear-no-evil, embrace of men. He calls them out when they do stupid things that hurt good women. Such men are afforded the worst contempt in the book. As a man, you do not want to be caught on the wrong side of his pen.

I have seen a number of social media personalities crown themselves the title ‘Men’s President’, but most are trash talking, bottom feeding online busybodies with nary in the way of brains. To me, Nyanchwani, with his smooth cerebral writing is more deserving of that title.

When I opened the book’s cover, I feared it would come out as the glue that did the binding appeared to have spilled over, however, after handling it for a number of times, the gluing seems to be just fine. And yes, I like the cover design; very creative.

Now, apart from a few typos here and there, which can be smoothened by a good editor, this is a book I highly recommend. I learnt a lot.

About being the tallest writer in Africa – I am short, so this cuts to the quick – I wonder, whom between Nyanchwani and Clifford Oluoch is shorter.

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Books Events Issues News Personalities

Rusesabagina’s jailing and why it was bound to happen

Sometime in May 2008, I was in a team of East African journalists that flew to Kigali to attend a book launch. The launch took place at the Hotel des Mille Collines, made popular by the movie, Hotel Rwanda, which earned American actor Don Cheadle, an Oscar nomination.

In the movie, Cheadle portrayed Paul Rusesabagina who, at the time of the Rwandan genocide, was the manager of Hotel des Mille Collines, in Kigali and was said to have hosted hundreds of Tutsis in the hotel, thereby saving them from the marauding Hutu Interahamwe militia, who masterminded the Rwandan genocide.

Hotel Rwanda is based on Rusesabagina’s book titled An Ordinary Man.

One might have thought that the Rwandan regime was mightily pleased by the Hollywood production for putting the country on the world map. On the contrary, and as we later came to learn, Rwandan president Paul Kagame wanted nothing to do with the movie; he charges that the movie ‘manufactured a hero’ in the name of Rusesabagina.

And that explained why we had been flown to Kigali to attend the launch of a book titled Hotel Rwanda: Or the Tutsi Genocide as seen by Hollywood, co-authored by Alfred Ndahiro and Privat Rutazibwa. At the time of the launch, Ndahiro was a senior advisor in the office of the president in Rwanda.

The book goes to great lengths to depict Rusesabagina as an opportunist who milked the outpouring of sympathy for the genocide victims to tell the story of how he helped save Tutsis from the hands of Murderous Hutus.

Contrary to Rusesabagina’s portrayal in the movie, the book is filled with testimonies of how Rusesabagina harassed those in the hotel for payment and threatened to throw out those who did not have money.
“Many other Rwandans who took refuge in the hotel have publicly declared that the heroic acts attributed to the character of the film bear no resemblance to the reality of events there over that three-month period,” says the book.
It adds: “it should also be pointed out that the hotel manager, unlike the saviour portrayed in the film, initially prevented the refugees from procuring food from the Red Cross because he preferred to sell them the hotel supplies.”


Among other forms of evidence the book reproduces a copy of fax sent to Rusesabagina, from the hotel owners in Belgium, instructing him not to charge for food that had been acquired for free.
In the movie Rusesabagina is depicted as a resourceful person, who persuades the architects of the genocide to spare the refugees by bribing them with cigars, alcohol and a little money.
“… General Bizimungu and his cohorts were not poor wretches that could be bribed with goodies…they were the cream of the genocidaires, that is, hardened killers with everything they could desire at their disposal, who had the power of life and death over almost everyone,” writes the authors.


In any case, the book argues that these genocide plotters were Rusesabagina’s friends, and that they would constantly drop in at the hotel for refreshments. It adds that through his ‘useful’ contacts with Georges Rutaganda, the Interahamwe vice-president, Rusesabagina was able to have a steady supply of alcohol at the hotel. “Not surprisingly, the senior officers of the Rwandan Armed Forces needed a quiet, safe place where they could quench their thirst and organise their next move after a killing spree,” says the book.
However, in his book Shake Hands with the Devil, LGen Romeo Dallaire, who led the United Nations forces in Rwanda (UNAMIR) acknowledges that Rusesabagina’s act of giving alcohol to the genocidaires contributed in a small way in saving the refugees in that hotel.


It should also be recalled that Rusesabagina’s wife, a Tutsi, and their children were also camped at the hotel, thus he had an obligation, if only to his family, to ensure that Tutsis in that hotel were out of harm’s way.
If as the book claims that Rusesabagina did not save the refugees from the genocide plotters who used to frequent the hotel, then how come these people did not come under attack?
Among other things the book owes the people’s safety to the UNAMIR, the United Nations peace keepers in Rwanda. It also says that expatriates, UN and other NGOs personnel, as well as international journalists were housed there, “which was enough to deter would-be murders from the wholesale massacres that were going on in the rest of the country.”


Rusesabagina’s credibility was dealt a further blow when Valerie Bemeriki, who was a presenter with the infamous Radio Television Libre des Mille Collines, (RTLM) and who is currently serving a life sentence at the Nyarugenge prison, for her role in the genocide, told researchers for the book that Rusesabagina used to pass on names to RTLM. “…I also know that if you reported anyone, like I used to do on radio…you put them on death row. That’s what he (Rusesabagina) used to do; he gave us the names we broadcast on RTLM,” Bameriki is quoted as saying.


It would appear that authors of the book put in quite some work in researching for the book. They even unearthed information to the effect that Rusesabagina at some point, while still working Hotel Mille Collines, in the early ‘90s, used to spy on Tutsis for the Rwandan Intelligence services.
And in what appears to be an obsession with the man, they have traced his every move. They are well aware that Rusesabagina formed the Hotel Rwanda Rusesabagina Foundation (HRRF), and whose registered directors are Rusesabagina, his wife and his two sons-in-law.


The authors also know that all the monies raised by the foundation actually goes into Rusesabagina’s personal account. They add that “he used his newly-acquired fame, thanks to Hollywood to indulge in petty politicking that exposed his ethnic and revisionist tendencies.”

Hotel Rwanda had the effect of turning Rusesabagina into a global hero. In 2005, former US president George W. Bush, awarded him the Presidential Medal of Freedom, the highest civilian honour in the US.

Rusesabagina, 67 later turned into a harsh critic of the Rwandan regime and President Paul Kagame. He was arrested in August 2020 in what he described as a kidnapping from Dubai by Rwandan authorities.

He was accused of supporting an armed wing of his opposition political platform, the Rwandan Movement for Democratic Change. The group had claimed some responsibility for attacks in 2018 and 2019 in the south of the country in which nine Rwandans died.

Rusesabagina was yesterday jailed for 25 years, on terrorism related charges, by a Rwandan court.

Perhaps, because of the subsequent negative publicity surrounding Rusesabagina, Terry George, the director of Hotel Rwanda, writing in The Washington Post in May 2006, said that Hotel Rwanda 2 “is a sequel I never want to make.”

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Issues News Personalities publishing

How publisher almost ruined dreams of two writers

Kinyanjui Kombani and Stanley Gazemba have a number of things in common. They are both writers who first put pen on paper at the turn of the century. They also landed on a one-man publisher, based in Nairobi, who upon seeing their evident potential, promised them heaven on earth.

Soon, each had a book out. Gazemba’s book The Stone Hills of Maragoli came out and promptly won the Jomo Kenyatta Prize for Literature in 2003. Kombani’s debut novel The Last Villains of Molo, came out around 2004 to rave reviews in the media. This young writer, still a student at Kenyatta University had finally tackled the ogre of ethnic cleansing and election violence in Kenya.

Kinyanjui Kombani

As the two were basking the glow of adulation, they discovered, to their dismay, that copies of the books were not available in the market. Readers went to bookshops but couldn’t find the books. Meanwhile, the publisher was taking them round in circles.

They were almost on the verge of giving up on writing altogether, somehow they persevered and submitted manuscripts to different publishers, who thankfully published their books, mostly children’s stories.

Kwani? came to the rescue of Gazemba and re-issued Stone Hills, but I gather there were still issues. This however did not deter him, who has gone on to blossom with a number of titles to his name.

For Kombani, help came in the form of Betty Karanja, then working as publishing manager at Longhorn Publishers. Longhorn reissued the book and it is doing well in the market. Kombani, who combines writing and banking, has now found new home in Oxford University Press (OUP), where his books have gone on to win literary awards.

Stanley Gazemba

Betty is today the Publishing Manager of OUP East Africa.

“His first novel The Last Villains of Molo, was published by Acacia Stantex Publishers, two years after finishing the manuscript and signing a contract. The author has stated in interviews that he did not earn any royalties from the book for ten years. It was not until Longhorn Publishers released a second imprint in 2012…” reads an entry on Kombani’s Wikipedia page.

Gazemba’s Stone Hills, has since been published in the US as Forbidden Fruit. Other notable books by Gazemba include Dog Meat Samosa, a collection of short stories, Khama, and Callused Hands.

Other books by Kombani include Den of Inequities (Longhorn), Of Pawns and Players (OUP), Finding Columbia (OUP), which won the prestigious Burt Award for African Writing in 2018.

Moral of the story. Publishers can break you; they can also make you.

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Soi, Chinese investors and the huge Kenyan debt

 

Michael Soi was at the immigration queue at the Jomo Kenyatta International Airport when he saw a Chinese couple jump the queue to be served at the counter. “People on the queue pretended like this was not happening; they were willing to let this blatant breach of procedure pass,” says Soi.

Soi was of a different persuasion; this was going to happen on his watch. “I spoke up and asked the Chinese couple to get to the back of the queue,” he explains. “It was only when the people realised that I was serious that they also expressed their displeasure.” The Chinese couple was left with no option other than to do the right thing.

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Today, the topic of entitlement and high handedness by Chinese living and working in Kenya is quickly gaining currency. This was especially after the Sunday Standard published a dossier on how Chinese workers were ill-treating Kenyan workers on the Standard Gauge Railway (SGR).  Another aspect about the Chinese that is currently preoccupying Kenyans is the ballooning debt owed to the Chinese.

Latest figures released by Treasury indicate that China owns 70 per cent of debt owed by Kenya.

While the reality of Kenya/Chinese relations might come as something of a shock to a majority of Kenyans, Soi, a visual artist based at the Godown, had somehow seen it coming. Way back, even before Jubilee came into power, Soi had started doing a series of paintings he called China Love Africa.

The series take a satirical if not mischievous look at how China relates with Africa. “Ever since some African countries, Kenya included, embarked on the ‘Look East’ policy I got intrigued,” explains Soi. In Kenya, the ‘Look East policy started with the Kibaki administration. Tired of having conditions – mostly human rights related – attached on aid by Western donors, Africans found a willing ally in China

No matter how stained a county’s human rights were, this was no big deal to the Chinese, who were too willing to open their wallet and do business.

Apparently the Chinese had gotten wind of Soi’s paintings. In May of 2004, the artist was minding his business in his studio when he got some unexpected visitors. Four men and a woman, all Chinese nationals, proceeded to ransack his studio. Apparently they were unhappy with the message Soi was communicating in the China Loves Africa series. They felt he was disrespectful to China in spite of the “good things China was doing to Kenya”.

Well, Soi called them to order by telling them that he was an artist and was not interested in politics, and could they leave his studio.

The five visitors happened to be in a delegation that had accompanied the Chinese Prime Minister on a State visit to Kenya. The Prime Minister had come bearing a bag of goodies, including funds that would be used to kick-start the SGR.

In an interview with Maisha Yetu, at the time, Soi had this to say “… the Chinese are giving their money without any conditions. This is one way of abetting impunity among our leaders; that no matter how many people are killed or imprisoned China will still pour in money, money that most likely ends up in people’s pockets and which will be paid by our children in years to come…”

Four years down the line Soi’s words sound disturbingly prophetic.

The China Loves Africa exhibition opened at at the Circle Art Gallery, in Lavington on August 15. Among the pieces on display include one depicting a beach scene where two men, representing Europe and the US, stare enviously as a Chinese man enjoys the attentions of a well-endowed bikini-clad woman, representing Africa. The Chinese man is blissfully licking a chocolate in the shape of the African continent.

The painting shows how China has beaten Western powers in the race to exploit Africa’s rich resources. Another piece foresees a future where China actually chairs the African Union – remember the crippling debt? – and African delegates asleep behind the new ‘chairman’.

You only need to visit the exhibition to see for yourself. It ends on September 25

 

 

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Power display by Ngecha artistes at the museum

The highly acclaimed TV drama Game of Thrones might be on its last stretch but it would appear that it has left a mark on Kenyan audiences. In the drama series there is an Iron Throne that every person, who thinks they have leadership blood in them, wants to occupy.

The throne is forged out of many swords said to have been melted by fiery dragon breath. Now, the quest to occupy this throne leads to a lot of bloodletting. Closer home, Sebastian Kiarie, a visual artiste from Ngecha Village in Kiambu County has come up with his local version of the Iron Throne.

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Like the throne on King’s Landing, Kiarie’s throne is made up of hundreds of machetes. He calls it The Seat of Impunity. The image is, at once, terrifying. This is especially when one takes into consideration Kenya’s blood soaked election cycles. Starting with 1992, the machete or panga became the weapon of choice for politically inspired ethnic clashes during election time.

 

Politicians who felt threatened by voters from ethnic communities, other than theirs, hired goons to finish off these ‘enemies’. The dark climax of these killing was witnessed in 2007, when Kenyans turned upon fellow countrymen in an orgy of mindless violence that left more 1,000 people dead; all in the name of politics and the quest to acquire power.

Kiarie’s sculpture is thus a timely reminder of the deadly nature of our politics, where politicians will do anything, including shedding blood in order to get into power. These politicians are encouraged by the fact that they will get away with it. In short, the top political seat in Kenya is drenched in blood.  This is the impunity Kiarie addresses in his unique sculpture.

Seat of Impunity is among artworks that have been on display, at the National Museums of Kenya (NMK) since the beginning of this month. Titled Art Creative and Beyond, this is a joint exhibition by artists drawn from Ngecha Village. This village has been made popular by the large number of self taught artists who have left a mark, nationally and even internationally.

This is a village where everyone knows someone who is an artist. Besides, Ngecha could well be the only village in Kenya with two active art galleries. Some of the popular names from Ngecha include, Brush Wanyu, Sane Wadu, Shine Tani, Chain Muhandi, among others.

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Artists are said to be mirrors of society and true to type, the artistes from Ngecha have not shied away from happenings in society including politics. Still on the topic of violence and impunity, Brush Wanyu has a painting that depicts the violence that took place in Mpeketoni, Lamu County, a few years ago, that resulted in the death of a number of people.

The explanation given to Kenyans on those killings was that it was the work of terrorists, but Brush is unconvinced. “This is impunity at play; perpetrators know they will get away with it,” he says. “Life in our country has completely lost meaning.”

Then there is King Dodge, whose painting style mirrors that of Brush. Dodge has a painting that talks about the foundations of nationhood. He says that the Kenyan Nation was founded on falsehood. “The true fighters of freedom were shunted and power was taken by home guards and loyalists,” he explains. “That is why the Kenyan flag is upside down.”

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There are a total of 14 artistes from the Ngecha collective, who have taken part in the exhibition that ends at the end of the month. Notably missing from the exhibition were Sane Wadu, who now has his base in Naivasha and Shine Tani, who runs the Banana Hill Gallery.

With such an abundance of artistic talent one would assume that the Kiambu County Government takes good care of these artistes, after all they are a positive marking point for the county. Sadly, this is not the case. King Dodge explained that the county government has been aloof at best. “We’ve tried getting in touch with the county government to see how we can work together but we were taken round in circles; we eventually gave up on them,” he said.

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It is ironical that while the top leadership in the county is busy airing its smelly fabric in public, they have completely ignored this artistic village in Ngecha, which if well embraced, would catapult them to the top of the charts as it were. Yet, this is a county with a Cultural Officer under its payroll.

Meanwhile as the Kiambu County Government continues to bury its head in the sand, NMK knows too well the important place these artistes occupy in the country’s cultural heritage. This explains why they keep hosting them for exhibitions.

Lydia Galavu, the curator of the Creativity Gallery at the NMK says that the story of Kenyan contemporary art would not be complete without mentioning artistes from Ngecha. “The beauty of these artistes from Ngecha, who also include women, is that they live and work in the village,” she explains. “They are mostly farmers, which is their main source of livelihood. Their day to day existence is reflected in their artworks.”

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Amherst College to host Ngugi wa Thiong’o’s 80th birthday

Prof Ngugi wa Thiong’o makes a homecoming, of sorts, when he returns to Amherst College—where he was based in the early stages of exile—in a three-day fest celebrating his 80th birthday.

He will be one of the star attractions at the Amherst Lit Festival, hosted by the top liberal arts college, and whose prominent Kenyan alumni include President Uhuru Kenyatta.

Ngugi taught at Amherst College in 1991, serving as a distinguished visiting professor of English and African Literature. His birthday celebrations will be between March 1-3.

The Kenyan journalist and author, Dr Peter Kimani, who is coordinating Ngugi’s event, is presently the Visiting Writer at the college. Kimani expects Ngugi’s celebration to springboard an assessment of his artistic legacy.

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Poster for the three-day event

Kimani, whom many in the literary world consider to be Ngugi’s literary son, explained that the theme of the celebration, ‘This Time Tomorrow,’ draws from an old Ngugi play that contemplates the future of a widowed woman, who is rendered homeless after her slum home is overrun by city authorities.

“It’s opportune time for Kenyans and Africans to ponder: Where do we go from here? Where do we take Ngugi’s artistic legacy, ‘this time tomorrow’”? Kimani said, adding that Ngugi’s engagements as a socially committed writer and activist provide useful lessons for African writers.

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Prof Ngugi (left) and his protege Dr Peter Kimani

“Ngugi’s decision to return to his roots, by championing African languages in late 1970s, was at the peak of his writing career. That meant his work suffered less immediate circulation, though not necessarily, less impact.

“But he received less external recognition, as Europe wasn’t going to reward someone seeking to end their cultural hegemony. He put his people and continent first, and that’s a useful lesson for us to postulate.”

The Amherst celebration will feature readings and discussions surrounding Ngugi’s life in writing. Most activities will be held at Amherst College, though Smith College, which is part of the Five Colleges incorporating Amherst, Hampshire, Mt Holyoke and the University of Massachusetts, Amherst, will host some events.

This includes Ngugi’s public lecture: “Birth of a Dream Weaver: The Pleasures and Perils of Writing,” reflecting on Ngugi’s evolution as a writer, a career that took off while still an undergraduate at Makerere University in Uganda in 1962 with the play, The Black Hermit. This will be on March 1.

That evening, Amherst College will host a staged reading of the play, This Time Tomorrow, directed by Kim Euell, an award-winning African-American dramaturg based at the University of Massachusetts, Amherst.

On March 2, Amherst College will also host a screening of a film, Ngugi wa Thiong’o: The River Between African and European Languages, directed by the Kenyan academic, Prof Ndirangu Wachanga, who is based at the University of Wisconsin in Madison.

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Wachanga’s work looks at the intersect of memory and the construction of national history. Over the past decade, he has documented the lives and times of leading Kenyan academics, including Ali Mazrui.

Ngugi will deliver the final reading the Amherst Lit Festival, followed by his birthday celebration, on March 3.

The month of March will prove busy for Kimani. He has a scheduled tour of London between March 10 and 17, to promote the British edition of his historical novel, Dance of the Jakaranda.

The book was released in New York last February, to great critical acclaim, including a New York Times Notable Book of the Year selection.

Kimani will give public readings and discuss his work at the University of London’s School of Oriental and African Studies, London School of Economics, and Cambridge University.

Other book events will be Daunts, the oldest independent bookstore in London, and Waterstones, the largest bookstore chain in Europe, where he will be in conversation with Fiammetta Rocco, the Books and Arts editor at The Economist.

Kimani will wrap up his mid-year book tour at the Calabash festival in Jamaica, hailed by critics as the best literary event in the world. Hosted at Treasure beach, south of Jamaica, the biennial festival is held on a beachfront. It’s free and open to the public.

At any given point in the weeklong fest, some 2,500 people sit in the audience, waiting to soak up a reading or performance!