Simbilimbi, Na F.J. Nyambare (Sir Yoro)

Bhururu, bhururu, nhai bhururu wangu, 
Une chokwadi here iwe?
Ndaiti hudera asi iweka nhasi wandikanga mate.

Hwako hunyasire wandisiya mukanwa muri kangwa.
Paye tichakura zvimbuzi wainyora nendove, 
Kuchikoro matebhuru uchipara nematombo.
Ko nanhasi here nhai Simba?
Zvawava nendebvu wani sekakotora.

Ndakakutora ndikati chiuya dhorobha, 
Nendandi muhuro ukati hausiye, 
Musi uya pagungano rebhavhudhe raTobhi, 
Takakuona wodonha nepoto uchinwa muto, 
 Nanhasi zita rako vanongoimba: "Simbilimbi vadhesve"

Ndakakutsiura ukati zvapera.
Mako mumoyo uchibika zvitsva.
Takasvika nepo pamusiwo we Pick n Pay
Ukanyora kumusana kwemuchinda uya kuti ; ”Mahobho ndibhudhi"
Ndakatozomira ndini ndodemba demba, 
Iwe warova chitsoka ndibereke.

Pamusangano paya musi weChina, 
Nemunwe yako wakaitei pamuchovha wa Chairman?
Ukati haina kugezwa rega ndidzaratadze;
"Clean me ndinoba huku"
Asi chii nhai Simba?

Takambotora nguva usingafambe uchitya kurohwa, 
Ndikati ini zvaiwana ngwarati.
Ndazivei hangu kuti uri kashiri zvako kane muririro wako.
Nhasi ndati ndikupinzewo machena.
Umbotsapfunyawo zvakarungwa nenyanzvi.

Wandiitei nhai Simbilimbi?
Ukati vanofanira kusara vachikuziva, 
Chokwadi here mu Nandos, 
Kusiya waisa rwako rwunyoro?
Dai wanyora nepenzura nani zvaidzimika.
Kuita hwekupara here nebanga murume mukuru?
"Simbilimbi was here"
Wotoshama n'ai dzekuzvimbirwa uchiti "Chimakuruwani"
Aiwa bodo wandiorora Simba bhururu.
Nhasi ndadzidza,
Kuona Simba azonzi Simbilimbi hunhubu.

Nhasi ndakanda mapfumo pasi, 
Ndaudzawo Fungai wekwaJayaguru nezvako.
Nemashoko apererwa, 
Ndokuzongoti hake ; "Dira rizare bhururu."

Sir Yoro

Sir Yoromosi kana kuti Murayanhiki semazivikanirwo aanoitwa nevazhinji, ndinyanduri anobva mudunhu raShe Mashayamombe kuMhondoro. Iri izita rekunemerwa kubva pakunyandura kwaakaita pfungwa dzevakawanda mugore ra2014 pane chimwe chiitiko chemunharaunda iyoyo asi rake rekuzvarwa naro ndiFibion Joel Nyambare. Zvekunyora Yoromosi akazvitanga mugore ra2010, achibatsirwa naVaMushore vaiva mudzidzisi papuraimari yake iyoyo paNyangwene Primary School muMhondoro imomo. Akazosimudzirazve rwendo rwake rwekuva nyanduri ari kusekondari paRio Tinto Mhondoro High School (yava kunziwo Rio Zim iye zvino) achibatsirwa nemudzidzisi wake weShona, Amai Chembwa. Akazotsikisa rimwe rebasa rake mugore ra2020 mumubatanidzwa wenhetembo unonzi Maungira eZimbabwe. Zvimwe zvezvinyorwa zvake zviri mumamwe mabhuku anoti Dzinobva Muropa, Shamhu ine Munyu uye Ruvarashe. Kozotiwo mamwe ari kutsikiswa anoti Nhetembo Dzepasichigare uye Manyukira eNhetembo. Nyambare anofarira kuraira mukunyora kwake kunyange zvazvo achizombonyora rudo, nyunyuto uyewo dzemugudza. Mubatei pafacebook (Fibion Joel Nyambare, Nhetembo tv), youtube (nyanduri sir yoromosi) twitter (nyanduri sir yoromosi), uyewo instagram.

Nduri Itsva DzaChamapezi Dhliwayo

NDINI IZWI

Ndini Izwi.
Ndinobva kuuzuru.
Ndakataura kare kare nemadzitateguru enyu.
Ndiri mukati menzvimbo dzinoera .
Nanhasi ndichiri kutaura.
Handimire kuchengera angu macheche.
Zvino teererai muteererese imi vatema!
Dzokerai kutsika dzemadzibaba enyu .
Semai kudeura ropa pachenyu.
Ropa rinoshura gwenga nekuti rinopinga nhuruka.
Dananai imi vatema pachenyu.
Hakuna rwumwe rudzi rwunokudai.
Zvino batai apa mupabatisise chaizvo!
Musayemure tsika nemagariro evasinamabvi.
Musavasiye vachipinda munzvimbo dzirere madzitateguru enyu.
Musarega vanamatonganyika vachidya zifa remukaka nemazenga euchi nevauyi.
Ivhu nderenyu nezviri mariri ndezvenyu .
Ndini Izwi rinobva kudengadenga.


IWEWE NENI

Chirega kuchema kani.
Chirega kuchema kani iwe-e!
Zvekare ndezvekare 
Zvakaitika zvakaitika imhepo yakatovhuvhuta ndokupfuura.
Ndizvo zvavari vanhu vacho.
Ndizvo zvavave kuita ava.
Kurwadziswa idenda redzihwa rinobata munhu wese.
Huya kani mudiwa huya.
Ndibate ruoko tiyambuke.
Tiende kure kure kusina anotitevera.
Kwedu tega kusina vanotiparadzanisa.
Kwatichanopururudzirwa muchato wedu nenjiva.
Ndinzwe mudiwa kani ndinzwe.
Chandichadya ndicho chauchadya.
Pandichavata ndipo pauchavata.
Pandichatsika ndipo pauchatsika.
Nguva ino inoti iwe neni.


MWENEWAZVO WAKAZVIWANEPI?

A-ah! a-ah ndinoda kuziva zvakavanzika Mwenewazvo?
Swedera uti pedyo neni gada Mwenewazvo.
Ndinoda mhinduro inondigutsa semugaiwa.
Inga upfu ukakumbira unondiudza wani?
Midziyo ikakumbirwa ndisipo ndiri kundari 
Inga unosvikotaura wani kuti wagova ndisipo?
Ko,izvo zvidobi zvawakaita mauro ndikasara ndisina mate mumukanwa wakazvitorepi?

Tave nemakore maviri tiri tese,
Tikaita  goremwana ,goremwana .
Asi zvidobi zvedu zviviri chete 
Chekumabvazuva nekumadokero.
Ko,icho chekumaodzanyemba wakachiwanepiko?

Wakapangurirwa muto usina ndima naaniko?
Iye zvino watsva nhutu hauchaguti .
Tikapopotedzana wondinemera kuti VaKadora.
Ko,ivo VaZimhungu wakavawanepiko?


WEMAKWATO

Raanoguta nderaakaraidzwa pakutanga.
Zvino akamuraidza akapota .
Iwe kudomupawo nemwoyo wese 
Paanopedza kuridya anokuyenzanisa neakatanga.
Kutarira ndiro dzevamwe haaregi.
Kuri kutsvaga chakachenjedza.
Wemakwato haungamufadzi kusvika paanoda
Unomutambidza mukombe pamwe iye anoda komichi.
Wemakwato haana mugoni kukwata haaregi.

ZINYEKENYEKE

Revai idi.
 Revai idi  mhani imi musatye!
Danai mhuka nemazita adzo .
Udzai vanhu zviito zvavo zvakaipa musatye!
Musavapoterera semunokwira gomo.
Vadzorei semombe dzinorunzira kubindu rine muriwo wakaiswa mushonga.
Kuvanza chakaipa kuvhara guru renyoka neruoko.
Zinyekenyeke rukonye runoodza.

Mhiri Kuno

Na Emmanuel Sigauke

Kumusha taiva vemhiri

Nekuno tiri vemhiri zvekare; 

Taiva naRunde na Gwen’ombe, 

TIchiti kwese kwataifanira kuenda

Kwaiva mhiri kwaRunde kana kwaGwen’ombe. 

Kuenda kudhibha, mhiri kwaGwen’ombe,

Kuenda kuchigayo kwaTakavarasha, mhiri kwaRunde

Kuenda kusumha kana matobwe kuChishamba, mhiri. 

Kuenda kumambuyu kwaMaride, kana kuvurimbo kwaMhike, mhiri. 

Paiva nekuenda mhiri kwaiunza mafaro, 

Kuenda mhiri kwaRunde kunoona muchato kwaGumbochuma

Kuenda mhiri kwaRunde kunokwira bhazi reHarare paMazarire

Kuenda mhiri kwaGwen’ombe kunotamba bhora kuChiware, 

Kana kunoona mhosva dzichitongwa kwashe Mhike

Nekuti vatongwi vaiuya nembudzi yourairwa dare, 

Mapapu nemushiya kupwere, dziwane matambiro, 

Vatsengi venyaya vachivaraidza mazino nemunyepfu, 

Uku upenyu hwevatongwi huchitararwa muvhu

Ramangwana rako richireruka kana kukoromoka, 

Asika matongero ashe aiva ekuyananisa nekusimudzira upenyu. 

Pakazovapo kwataiyambuka nzizi kunoona twusikana, 

Ndisingakanganwi rwendo rukuru kwaMadzivadondo, 

Uko taishanyira musikana waLeni,

Pandaiva nemakore gumi, iye ane gumi nematatu. 

Leni anga ati rebei, otoputitsa mapundu ehujaya;

Tikati hendei, ndokufumobatawo jongwe muromo

Kuti tinosvika risati rarova nhongonya. 

Poita paya pataiyambuka Runde, 

Kutiza hondo yapisa maMazvihwa, 

Tichinogamuchirwa nerukudzo kwaChivi,

Nekuti ivo vaiti kana kwavo yapisa

Taivatambira kuno sehama dzedu chaidzo

Vogarawo kusvika mavivi adzima—

Asika hondo futi: maitosona ukama chete

Cherozvo manga makamboburana kare. 

Pwere tichitiza hondo

Tosvikowana mafaro akatimirira mhiri

Totamba zvedu kunge paisava nechaishaisa vakuru hope. 

Kumusha taiva vemhiri

Touya kuno, tiri vemhiri

Kune avo vanobva kweduwo. 

Apo, pamhiri pa Sacramento, vanobva mhiri kwaNgezi,

Vandinototi kana ndashanyira ndiyo yangu hama kuno.

Uko, mhiri kwe American River, 

Kugere vanobva kwaTakavarasha, mhiri kwaRunde

Ndorangarira tichinofara Takavarasha, 

Koti kuno, kana tafunga mafaro

Vanotidana mhiri kweAmerican

Tonovidza zuva tichigocha hochi

Nekupuruzira magirazi ezvinodhaka

Tozodzokako migwagwa yati gwa, 

 Mapurisa enzira atonorararawo. 

Apa tinenge tanamwa, asi kufamba pore pore

Mhosva yekubatwa kuno wakagungwa

Inokudzoseresa mhiri kwamakungwa

Kwawakatiza kukwangwaya

Woita zvekufemera pamusoro

Segwaya rakwakukira kunze kwaMaizezi. 

Kumusha taiva vemhiri

Chero nekuno tiri vemhri, 

Chikwata chinogara mhiri kwa San Joaqin chakasisa. 

Ndivo vakasvika zuro uno uyu, 

Asi vatova nedzimba midhadhadha, 

Mabasa emuno ndivo vatongi

Mari vachishaiwa zvekuita nayo

Kana kuziva marwadzo ekupera kwemwedzi

Anotishaisa hope, tichiti zvibhadharwa totaga nechipi. 

Ivava vakati uyai kubhavadheyi, 

Rodzai miromo, wedzerayi nyota, 

Munonoguta ikoko, kunyanya kana makashinga

Nekuti muchanwiswa zvine mazita 

Amusingagone kuverenga, mugodyiswa 

Zvimbishi zvinotsvedza, zvekuti mukapusa munosemeswa, 

Chero dzimwe hove dzamuchanodyako, 

Dzine ruvara ruchena kukunda mukaka

Mukasangwara munozvirutsa zvese

Zvamunofanira kuchengeta mukati

Kuti muzive kuti chinonzi mhiri chii, 

Uye munovambuka makungwa sei

Uye vambuko inokuvandutsai sei. 

Mukasangwara munonotsamwa

Mugotuka vadzimu venyu 

Movati ko makore ese aya

Sei musinawo kutiratidza nzira

Inosvitsa kurifa rakadai? 

Asika vamwe venyu, 

Chinonzi midzimu chacho, 

Chero chinzonzi mwari chacho

Makasiya pazambuko

Pamaiti kuyambuka kwenyu 

Rusununguko rwaikusvitsai kure kwezvinokataza. 

The Return of Moments in Literature

GEDSC DIGITAL CAMERA
Writer Memory Chirere and Emmanuel Sigauke, UZ 

This blog has been in existence since 2007, but it went through a five-year hiatus as I focused on other projects. But now it returns under a new domain: chisiya.org. I will be sharing a little bit of history for Chisiya Writer’s Workshop, which is based in Mazvihwa, Zimbabwe, and whose influence is growing to different parts of the country, and now, through this platform, is going to reach audiences worldwide.

I will probably working with a team solicited from within Chisiya organization, if I can find volunteers. Perhaps one day we will be able to monetize the initiative, as that would also be helpful to the writers in the Chisiya organization. I enjoy creating platforms like this as they keep me inspired to do my own work as well.

Watch this space. More is coming. In the meantime, go into our archives and read stories and articles going back to 2007.

2015 Writivism Mentors

Writivism

The Writivism programme is excited to unveil all the thirty two established African writers who shall participate in the 2015 mentoring component of the programme. We are extremely grateful to the mentors for donating their time to guide emerging African writers, who shall be picked from our 2015 workshops cohort. The workshops shall be held in Kampala, Gaborone, Dar es Salaam, Lagos and Johannesburg. Applications for the workshops closed on 31st October 2014. Writers, based on the continent who are yet to publish a book were eligible to apply. Only those writers who attend the workshop stand a chance to be selected for the mentoring component.

The mentoring involves providing feedback on draft stories sent by the mentee. This guidance lasts a period of four months (February to May 2015) and will result into two flash fiction stories to be published in various media and one short story to…

View original post 3,860 more words

The Naipaul in us

He writes well… this blogger.

Pa Ikhide

The writer V.S. Naipaul recently published a book, The Masque of Africa that is supposedly based on his recent visits to African countries like Uganda, Ghana, Nigeria, the Ivory Coast, Gabon and South Africa. These travels were allegedly to discover the “nature of African belief” according to this review of the book by Sameer Rahim in the UK Telegraph. Rahim gives the clear impression that this book does not improve upon the silence. It is the same tired, stereotypical garbage about Africa and civilizations of color. You wonder if at 80 years of age, Naipaul is finally losing it.

The drama Naipaul records in the book is cringe-worthy: In Gabon, his legs give way and someone attempts to transport him in a broken wheelbarrow. Give us a break! The sad truth is that ever since Naipaul was born among the wretched of the earth, as he would probably put it…

View original post 697 more words

Vosvika muAmerica Mazuva Ano

Mbeu yevanhu vosvika muno yati siyanei neyedu patakasvika. Isu taivinga chikoro, kana kuzotora twumakosi twekutiwanisa mabasa ane musoro, toshanda kwemakore, tichironga kuzodzokera kumusha takagukuchira upfumi. Asi ava vouya mazuva ano ava, huri-i, mabasa chaiwo.
Pane mukomana akasvika mwedzi wapfuura uyu. Hameno kwazvakanhongana nemukadzi weChirungu anenge ane dzakadambuka dzose. Mungadai mavaona nhasi pavasvika pano kuzopemberera Zimbabwean Independence Day nesu, chikara chichizvidhonza haikona, hanzi ndine wangu, isu tikati, “Tamuona!”
Ndamutarisa mukomana uyu ndikanzwa misodzi yoda kudonha. Nhai shiye zvayo, mwana akakurira kuruzevha, kunozvuviwa nechembere zvayo. Anga ashayei kumusha? Chero mumaruzevha zvamuzere vasikana vanogona  kutsvoda wani. Shuwa munhu kukwezva neganda otadzawo kutarisa kuti patori nemhunhu chaiye kana kuti ringori dzungu zvaro. Gore rino tichaonerera zvedu. 
Iko kudaidzana kwacho kani. Inongovaka iyo yehuchi. Pano nepano, “Huchi! Uya pano, Huchi!” Isu zvedu tangoti pwi pwi, tangotarisa. Tangoteerera dzichitaurwa nyaya dzeZimbabwe naiye mukadzi wacho. Toudzwa hedu zvese zvavo zvekuenda kuVictoria Falls, havo kuKariba, hanzi totamba mumvhura, hanzi totora mifananidzo yemvu-u nemakarwe aZambezi. Icho chikomana chacho, munhu akakurira kuBupwa kuya, kwavawo kuavhomora mafoto emakudo, tonzi onai. Isu tongotarisa hedu, ko tingadii? Sezvo ini ndichibva kuVhugwi, pedo neBupwa, ndadawozve kubvunza kuti ko muroora akambonobatsira mai mumunda here pawakaenda naye kumusha? Ndabvunza neChirungu, kuti ndisanzi ndanyeya umwe, iye mukadzi akabva apindura. Ko vanonoka?
“Hazvaaiita kuti tiende kumusha kwacho,” ndiye muroora wedu weChiRungu uyu.
“Ko hindava?” vobvunza havo Tete Raviro vanogara kuFolsom, vatoshamawo muromo wavo.
Tose zvino tatarisa muroora.
“Hazvaiita kuti ndiende naye. Akaenda nabhudhi vake. Takamboitisana nharo, ndikazoti, fine, enda. Just make surekuti unodzoka uri mupenyu.”
Zvino imba yose yavhura nzeve. Chero sadza netsoka dzenguruve zvatiri kudya  tambosendeka. Chero twuvana twaAuntie Jenny twatiwo nzeve kwangwa. Ko twungadii?
“Ko zvanga zvanzi angangofako kumusha kwake?”  vanobvunza Mukoma Mairosi, ticha wepachiCommunity College chemu Elk Grove, vanobva kwaMafuva.
“Ehe. Pese pese paaienda kumusha kwavo paiva nekamukana kekuti pane zvingangoitika kwaari. Kuzere varoyi kuBupwa.”
“Hezvo!” ndini ndodaro nechemumwoyo, nzeve dzangu dzotounga, ndichibva ndazoti kumuroora, “Heya. Hanzi kune varoyi?”
“Vakawanda chekuti pano? Chero mai vake vanonzi nevanhu vanoroya.”
“What nonsense did he tell you?” ndiMukoma Mairosi avo, vatokwidza izwi sevatsamwa, ziso ravo rakatarisa mukomana wechidiki uyu angoduka zvino akadzvokora meso seadzipwa.
Naiyewo anenge atoshaya neremuromo, asi abva ada kudzora mukadzi asati ataura zvimwe.
“Honey, handina kuti kuzere varoyi. Wasanganisa macontext.”
“Ehe wakadaro; handiti wakati amai vako vakambopisirwa imba nekuroya. Ndaida kuinda kumusha kwenyu ukati chii, kunotyisa, ini ndikati, fine, chiendai, asi udzoke uri mupenyu.”
“Aiwa hauna kunzwisisa,” odaro murume, ati kwidzei izwi. Atotsamwa wena.
Zvino tese tangotarisa, tichitsenga zvakadzika. Hatichadi kuipindira iyi, ndeye zvemhuri yavo. Vakada kurwira pano ndovadzinga mumba mangu. Ko zvinonetsa here muno muAmerica musinganetsi mapurisa.
“Saka uri kunditi ndinonyepa manje pavanhu vese ava?” obvunza mukadzi zvino aunyanisa pameso, huchembere hwese hwabuda. Mwana akanozvuvana nechembere yakakura kukundeni chaiye, hezvi ndatosvitsa forty yangu. Kuda hako upenyu huri nani, asi bodo.
“Apa wanyepa shamwari. Ndakati–.”
“Don’t call me a liar!” svatsamwa zvino. Pameso patsvuka kunge dziva reropa. Chirume chacho chobvunda. Ndatarisa kuna Auntie Jenny votofa nekuseka vakaviga muromo. Rindai, musikana anochengeta machembere, mwana wekwaMadvivadondo akazvisvikira zvake, okosorera akaviga musoro sure kwangu.
“Handisi kuti unonyepa. Wakaramba wega kuenda kumusha nekuti waiti haufarirani namukoma vangu, remember?”
Well, mukoma wako angadai akakwira bhazi rake ega nekuti chidhakwa. Handikwiri bhazi rimwe nezvidhakwa!” Apedza zvake muera Andrews. Asunga ruromo, otarisa divi, uku murume apererwa nemashoko, onangisa maziso kwatiri kuti pamwe tingapindira. Iyi ndeyake iyi.
Pamboita karunyararo, asi ndoona mukoma Mairosi voda kufutidzira moto: “Handaiziva kuti kuBupwa kuzere varoyi vanotozivikanwawo chero nemaAmericans.”  Asi vanobva vabata muromo, kwava kuti, “Kutamba hangu.”
“Ini zvevaroyi ndanga ndisina basa nazvo. Who cares? kana munhu afunga kuzviti muroyi ane right yekuzviti muroyi. Iwe Lettie unozviva wani kuti muAmerican River munosangana varoyi every full moon.”
Ngaandisiye zvangu. Vandoziva kupi varoyi vanosangana muAmerican River. Asi ndoda hangu kuti ataure chakamutadzisa kuenda kumusha kwemurume chaicho, vachiriko kuZimbabwe. Nhai vanhu kuenda kuVic Falls, nekunana Kariba kwese, nekunanaMatopo asi vachitadza kuendesana kumusha kwemurume? Chivanhui ichocho? Kana kuti chiAmericahwai ichocho?
Ndobvunza hangu, “Saka uri kuti wakatadziswa kuenda namukoma wacho?”
“Ndicho chikonzero chaicho. Iye anozviziva uyu.”
“Ndisiye zvangu, ndichiziva chii? “
“Saka wava kuti ndopengaka iwe?”
“Kana zviri izvo zvaunofunga, ehe, unopenga, dzvunguwaya chairo.”
What?”
“Wandinzwa.”
Mukoma Mairosi voti, “Please. Todawo kuzvitsengera mabhonzo takadekara.”
Asi vanganzwikwa nani? Murume nemukadzi zvino zvatarisana. Kwazoipa. Ndichadzinga vanhu pano.
“Iwe ndiwe unopenga. Ndiwe unamukoma vane maproblem edoro. Pamwe une zvaunazvo zvaunovanza kubva kwandiri. Are you alcoholic too? Ndiudze pachi pedo!”
” Usaenzanisa mhuri yangu neyako!”
“Pakudii kwayo?”
“Yako izere zvidhakwa zvega nevasvuti vembanje!”
“Wava kufarisa zvino!”
“Iwe ndiwe wava kufarisa. Watondigumbura izvozvi!”
“Wagumbuka? He? Wagumbuka?” Mukadzi nyamwi. Asi oda kudira murume mbama?
“Uchazonyatsogumbuka kana wava kufunga kuti uchauya sei kumba.”
“Kumba? Ndoendaka nemota.”
“Tichaona zvikaitika. Ndaenda ini!” Aika! Vatobuda mbuya. Tose tateerera. Yozhambiswa mota panze. Mavhiri okwenga pasi mota yovhetemeswa. Atoenda MuRungu zvechokwadi.
Mumba munosara mune runyararo. Pava pashure iye muridzi wenyaya anobva aseka zvake.
“Mupfana unopenga iwe. Ko chii chawakatiitira ichi?” Ndi Mukoma Mairosi.
Asati apindura Auntie Jenny vanoti, “Muchapfurwa nepfuti; hameno zvenyu.”
“Uyu anobva kuvaroyi haapfurwi uyu,” vanodaro  Mukoma Mairosi.
“Asi chokwadi ndizvo zvawakavinga here izvi, hanzvadzi?” ndinomubvunza.
Haapinduri. Shasha inenge yofunga kuti ichaenda sei kumba.
“Asi wava kufunga kuti uchaenda sei kumba?” vanobvunza Tete Raviro, vachisvisvina bonzo rakaomarara.
“Hongu,” opindura, pameso pava nekakutya. Vasikana-a, hudiki zvairi nhamo chaiyo.
“Kuziva kuti uchaenda sei kumba, semaonero andaita zvinhu pano, handiyo nhamo yako hombe munin’ina. Nyatwa yako chaiyo ndeyekuti uchine kumba kwekudzokera here,” vanodaro mukoma Mairosi, vobva vaputika zvavo nekuseka, vowedzera vachiti, “Muchitanga mazivana nevanhu vamunotevera kuno. Wako uyu zviri pachena wani kuti hadzimo.”
“Rudo kani. Ko imi makamboitawo wenyu wani?”
“Zvaiva zvemapepa zviya. Uyu mwana mudiki aikwanisa kuzviunza kuno pasina problem.
Handiti wakapedza paUZ?”
“Hongu.”
“Zvino?”
“Rudo chete.”
“Tibvire apa! Unondiudza kuti paUZ pese paya wakashaiwa cherowo wako wekuroora?”
Handidi kwoinda nyaya. Mairosi akaita drama dzake muno tikaita tese setichapfurwa nerakewo benzi. Ngaasiyane neshiye yevanhu.
“Usavatevedzera ava. Zvipedzisire bonzo rako mwana wamai. Handiti sadza motorioenerawo pano? Kwenyu uku maonaka nhamo neMacaroni & Cheese?”  Handidi hangu kuti apindure.
Saka ndinobva ndawedzera. “Wako mukadzi haanetsi. Mupe hour uchaona okufonera achikubvunza kuti uchauya kumba riinhi.”
Imba yose inoseka. Kuseka nhamo serugare.
Kana tati garei ndichati uyu afonere mukadzi wake achikumbira ruregerero. Kuenda kumba hakunetsi hako; mota dzakati bayai vanhu pano nhasi. Iko tichirambireiwo takagara zvatapedza kudya?
“Chititambiraika. Ndimi muchangobva kumusha. VanaBorrowdale vandinongonzwa vakamira sei?” ndinobvunza, zvinobva zvapepusa Rindai unyo anoti, “Ndauya naAwilo Longomba!”
“Karolina munayo?” Aizve, otobvunza mwana wamai vangu.
“Ndauya newide selection.”
“Ha, magonaka. Regai titambe.”
Tete Raviro ndiye D.J.. Zvino tatarisa Rindai neuyu vachikozvora kapeti. Gare gare Mairosi ozvongonyokawo, ava Auntie Jenny vakati havachasariri, pfichu-pfichu zvavo sevakapedza nhamo dzese. Pandinopinda mudariro ini chero Karolina wacho dai anga ari pano aikumura nyembe. Regai tipemberere zvedu. Ko totadziswa neiko isu tiri vagari vemuno vekutanga?

Sadza paChimanimani, Part 1

Chimanimani

Sadza paChimanimani

Zvinoita sadza! Takangoti tichiburuka bhazi paChimanimani Village kwava kuchimhanyira kwaibva munhuwi waro. Ipapo ndanga ndabva mukusangana neumwe murume wechidiki seni, uyo anga andiona ndichidzerekera kumusuwo webhazi ndokuti, “Makanangepi ishe?”

Ini ndokuchiti, “Tisu maticha matsva ekwaNdima., kuRusitu.”

Akabva asimuka ndokunangawo mukova seni, apo bhazi ranga rozhamba rananga musika.
“Zvatoita tawandirira. Neniwo ndakananga kuRusitu; ndiri kunotanga basa paprimary.”

“Ini ndakariwanira pasecondary.”

“Makorokoto; ekumusoro uku anonzi oti netsei kuwana. Asi muchangopedza paChikomo?”

“Hongu; gore rapfuura irori. BA rangu, Chirungu neShona. Asi ndiri kunoticha ChiRungu.”

“Makorokoto chaiwo,” akadaro achigutsurira. “ Ngatiburuke; tamisa vanhu.”

Tava panze pebhazi takambotarisa mamiriro anga akaita nzvimbo., tichitatamuka nekushama n’ai.

“Muri kuzviona here zvimoko?” akabvunza murume uya.

“Zvipi? Zvisikana zvemusika izvi?” ndakadaro ndichitoshamisika, uku pfungwa dzombonzvengera kuna Shami wangu muHarare.

“Ko zvine basa here? Kana waita nzara zvepamusika ndizvo zvinoita manje,” akadaro, masizo ake achitandanisana chimwe chisikana chairwisana nesiketi yaivhungwa nemhepo.

Ndakatarisa divi ndokuti, “Zvine basa chaizvo; hatidi zvekuzopedzisira tawanana zvitetamvura zvekuno. Makanganwa here baba zvavanotaura: waerekana watangana nezvekuno hauzofi wakatarisa shure kwawakabva zvekare.”

Uyu akabva apfachuka zvake nesetswa, ini ndokusekavo nezwi riri pasi, dete.  Ipapo ndakabva ndarangarira kuti tanga tisati taudzana mazita, chero zvazvo kuva maticha kwedu kwanga kwatotiita kunge taizivana nechakare.”Ndonzi Sithole– Mark Sithole.”

“Moulta Matambanadzo,” akapindura achiunza ruoko kuti rwugwinwe nerwangu rwanga rwaneta nekumirira.

Ndopatanganzwa munhuwi wesadza ndokufamba tananga kwataiona vanhu vachinge masvosve. Pamusika uyu bhazi rinonzi raimbomira kwekanguva kakati rebei. Vanhu vaitokwanisa kutenga sadza ravo vakatoririkita pasina kutya kuti vaizosiiwa nebhazi. Ndomafungiro atakaenda kusadza tinawo, shasha dzadekara zvadzo, kwava kuchirondana nenhoroondo dzekwaibviwa, kozoti dzekwaiendwa. Ini ndanga ndatombosunungukawo chose semunhu anga apedza mazuva matatu achingochinjanisa mabhazi, uku hasha dzichingokwira sedzaRunde. Kubasa rudzii kwaisasvikwa?

Nhai, kusimuka muHarare muya nechitima neMuvhuro, chitima chiya chokachidzwa nekuchembera kwava kutifira maRusape. Totsamwa zvoshaya basa; kwava kuchitiza chitima chiya tananga mugwagwa wekwaMutare. Mushure menguva refu, towana bhazi ranga rakatozarawo zvaro, asi vakatitora havo. Ko handiti taibhadharazve, chero zvazvo yechitima tanga tisina kudzorerwa. Zuva rondodoka tasvika maMutare, kuSakubva kuya. Kuchitarisa rekuChimanimani bhazi wanikwe ranzi rakainda zuro; hapana aiziva kuti riripi?

“Saka todii?” ndobvunza iwe, ko ndingadii?

“Mototora rekuMasvingo,” ndoudzwa nevamwe ambuya vanga vaneta nekumirira rekuNyanga.

“Ko zvandiri kuendawo Chimanimani nhai vehama.”

“Aiwa, Chimanimani motombokanganwa. Torai reMasvingo iri, monoriburukira paBechinafu.”

“Hon’o!”

“Ipapo momirira anobva Masvingo kana Buruwayo achinanga Chipinge.”

Ini hezvo! “Ndomboinda Chipinge futi. Ko Chimanimani hanzi yadii?”

“Handiti mati muri kunosvika kuRusitu? Kutori pedo neChipinge kukunda Chimanimani Village yacho.”

“Heya?” Ndamira kanhanha, nzeve dzounga. Asi ndaibvunza ani.

“Mangoerekana masvika Chipenge, haiwa, matonaka,” vakadaro ambuya vaya vondisiya vananga kwanga kune chainge chingoro chemaOrange.  Kudotsegaira zvavo kunge vaisashushikana nenyaya dzekushaya mabhazi idzi. Ini apa ndongomira-mira, kushaya kuti ndodii, chero zvazvo ndanga ndaudzwa zvekuita.

Ndakatevedzera zvese zvandanga ndaudzwa ndokuchizonosvika Chipinge masikati eChipiri, ndatomborara panze pebhawa repaBechinafu. MuChipinge muya chero ngoro chaiyo yekuendesa nayo kuRusitu ungaiwana? Saka ndakatorara pamusika, mvura ichizvinaira zvayo yakasununguka. Musi we Chitatu pane akazonditi nditore bhazi raidzokera kwaMutare asi ndonoburukira paturn-off yekwaMutambara, inova ndiyo nzira yaizonanga kuChimanimani. Takanopasvika paTurn-off ava masikati chaiwo, ndokuchiwana pane bhazi rekuChimanimani ranga rafirapo, bhazi refu, rakapendewawo zvakanaka chose; asi ranga ramboti ifei. Vakarigadzirawo rikakosora zuva ratorereka. Ndiro bhazi ranga radai kutisvitsa pamusika weChimanimani uya uri pedyo nehotera inorarwa navashanyi vanovinga makomo. Ndipo pandanga ndadai kusangana naMoulta, mudzidzisi seni.

Ko iye zvanga zvambomuitira nyore here? Muchinda uyu anga atochembererawo parwendorwu. Mazuva mana achiedzawo kuenda kubasa.  Iye anga abva kwaMutoko, kunova ndokwaiva kumusha kwake, uko anga apedza dzidzo yehudzidzisi paMutoko Teachers’ College. Anga atora bhazi rekwaMutare paMbare rikafa kanomwe panzira, vachingoudzwa kuti vasanokwira rimwe sezvo iri ranga rine makanika waro mariri, saka kurigadzira kwaiva nyore. Pavakazosvika maMutare ranga ratova zuva repiri ari parwendo, atofonera kuchikoro kwake vakamuti ngaatore chero nguva yaaida. Saka nanhasi, anga achiri kungoedza kuenda kubasa, achipota achifonera chikoro, vomuti achasvika hake kana vematenga vada.

“Totongofara kuti, finally, tava netariro, tava pedo nemabasa,” ndakadaro ndichin’en’a bonzo.

“Neniwo, shasha. I was losing it. Asi zvanaka,” akapindura hake Moulta achipa nhunzi mbama.

Takaridyawo chose ndokuzopedzisira toti uyu abata rake bhodhoro reCastle, uyu abata rake reLion. Pava paya tichizotatamuka zvedu tananga kwatanga takamirirwa nebhazi redu.

Tichifamba angu maziso aiva achicherechedza makomo eChimanimani; ndokwaiuyiwa nevashanyi vaibva kunyika dzakaita saana Germany, United States, chiBritain, nedzimwe dakadaro. Ini hangu ndanga ndisati ndamboshanyira makomo embiri aya, uye handaitarisira kunoakwira chero zvazvo ndanga ndoshanda pedyo nawo. Asi aiyevedza kuatirisa. Randanga ndakayeva tichifamba raiita kunge raiziva kunge ndanga ndakaritarisa, huma yaro ichipenya kunge raida kundikoka kuti ndizoona zvaraiva nhazvo. Gomo guru rine mhanza uye tubvuzi twehungwaru. Gomo guru rinonzi raiva nemapako airura, mapako aiba munhu umwe pagore, iwo mabvakure aiita kunge ane nzeve dzakavuwiwa nesimende. Ini kwete, makomo ndaingoayevera kure, saizvozvi ndichifamba hangu zvekuzengurira, dumbu rati tashu seremhashu, ndichifamba nzeve dzichinzwa zvaitaurwa na Moulta uyo aingunoimba nezvekunakidza kwaaita Mutoko.

“Ah, shit!” akadaro Moulta achikwakuka kunge uyo anga atsika chiva. Handaida kudirwa mbama kuti ndizive changa chamukwakusa; ndakatokwakukawo pandakatarisa nzimbo yatanga tasiya bhazi. Panga patomirwa zvapo nechimota chematomatisi icho chaingunorwirwa nemadzimai emusika. Kukwakuka kwakashanduka kukava kumhanya, uku meso achitandanisa nzira yebhazi kudakara asisaoni chinhu. Kana kuona chiedza chebhazi, kana chekunyepedzera chaicho.

“Tava pashinyasi mudhara,” akadaro Moulta achiri kungomhanya pasina kwakanangwa. Patakabonderana ndopandakarangarira kuti neni ndanga ndichiri kumhanya nanhasi, kumhanya kuya kunoita kunge kunotimba panzvimbo imwe chete. Takazongoerekana tamira pamberi pechimota tatarisana nemuchairi wayo, ambuya vanga vakatozvitsamwiravo zvavo nechakare.

“Munoziva kwainda bhazi?” ndini uyo ndobvunza, ndichizvirovesa nehana yangu nekuti ndaiziva kuti handiwo mabvunziro anoitwa, asi hapana mamwe mabvunziro andakakwanisa kuita.

“Bhazi ramai vaani?” ndiambuya vaya.

“Bhazi; tasiya bhazi pano!”

“Iti wasiiwa nebhazi,” ndiMoulta uyo.

“Chibvunza iwe then!” ndini uyo, asi ndanga ndisina hangu kutsamwa. Moulta akabva amisa chimwe chisikana chaizvimhanyirawo.

“RekwaNdima? Rainda kare; pamwe izvozvi ratosvika kuTurn off yekuRusitu. Mukamhanya mogona kuribata. Rinomira nzvimbo dzakawandisa,” akadaro musikana achibva arova museve Moulta asati amupa umwe mubvunzo.

Takatarisana ndokutarisa tsoka dzedu ndokutarisana zvakare. Zvekuita taizviziva; kuzvinonokera kwainge kudenha nyuchi dzegonera.

2012 in review

The WordPress.com stats helper monkeys prepared a 2012 annual report for this blog. [But this just shows that we at Moments in Literature have to work harder this year! We want more than ten times the number of views we got this year. We want this to be a productiveyear.]

Here’s an excerpt:

600 people reached the top of Mt. Everest in 2012. This blog got about 3,500 views in 2012. If every person who reached the top of Mt. Everest viewed this blog, it would have taken 6 years to get that many views.

Click here to see the complete report.

Noviolet Bulawayo, Zimbabwean Writer and Winner of the 2011 Caine Prize, Signs a Book Deal with Chatto

Press Release: Chatto Acquire Thrilling Debut From 2011 Caine Prize Winner, Noviolet Bulawayo

Posted at 5:33PM Thursday 17 May 2012

To Becky Hardie at Chatto, debut novel We Need New Names by Caine-prizewinning NoViolet Bulawayo, after a heated auction conducted by Alba Zeigler-Bailey at the Wylie Agency, for publication in 2013.  Chatto acquired UK and Commonwealth rights, excluding Canada.

We Need New Names tells the story of ten-year-old Darling and her friends Stina, Chipo, Godknows, Sbho and Bastard, who used to have comfortable houses and existences but now live in a shantytown called Paradise. For these children, the only way is down – or out. To America, in Darling’s case. Pulled out from the poverty, disease and violence of Paradise by her aunt and taken to the Midwest, Darling faces a whole new set of problems: language, food, friendships, the internet and being part of a community of exiles.

NoViolet’s story ‘Hitting Budapest’ won the 2011 Caine Prize for African Writing and was  selected for the Boston Review by Junot Diaz who commented, ‘I knew this writer was going to blow up.  Her honesty, her voice, her formidable command of her craft—all were apparent from the first page.’ NoViolet has also been shortlisted for the 2009 SA PEN Studzinsi Award, and her work has appeared in Callaloo, the Boston Review, Newsweek  and the Warwick Review, as well as in anthologies in Zimbabwe, South Africa and the UK. NoViolet recently earned her MFA at Cornell University, where her work was recognised with a Truman Capote Fellowship. She will be attending Stanford in the autumn as a Wallace Stegner Fellow. NoViolet was born and raised in Zimbabwe.

Becky Hardie said, ‘We Need New Names set the whole of Vintage alight. The energy and power of Darling’s voice and NoViolet’s incredible use of language and storytelling make this a debut quite unlike any other. But New Names isn’t all about language and storytelling, it’s also a vitally important book about war, poverty and the state of Zimbabwe. We are over the moon to welcome NoViolet to Chatto.’

NoViolet said, ‘It’s a most exciting time for me; of course Chatto & Windus are prestigious publishers but more than that I feel We Need New Names is just lucky to be in the presence of a very passionate team. I’m thrilled, and cannot wait to share the novel, and hopefully more, with readers.’

SOURCE: http://www.booktrade.info/index.php/showarticle/40805/nl#.T7YFqUmQ8i4.facebook

 

Fresh Reflections on Marechera’s Life and Works Emerge

By Beaven Tapureta

Some artists’ legacies live long even after they die,  and this is true of one of Zimbabwe’s great writers, the late Dambudzo Marechera, who will be remembered at a function organized by the Zimbabwe-Germany Society (ZGS) under the theme “Revisiting Marechera: Old texts brought to Life”.

And to bring back the Marechera memories in person, Prof. Flora Veit-Wild, who will be in Zimbabwe this March, has published poignant articles about her love relationship with the “enfant terrible of African literature” in Wasafiri, the London-based journal for International Contemporary Writing, Vol. 27, 1, 2012.

Prof. Flora Veit-Wild will also grace the commemorative function that is scheduled to take place on March13, 2012 at the ZGS at 5:30pm.

Franziska Kramer, ZGS Project Manager, said contributors are being invited to participate in this function by reading or performing a poem or short prose or dramatic text by Marechera and subsequently engaging with it. Alternatively, she said, contributors would read or perform their own literary texts inspired by Marechera.

 

Kramer also said that Flora will introduce contributors and moderate the discussion after presentations.

The exclusive anecdotal articles by Flora published in Wasafiri reveal a fresh view on Marechera’s love life. The articles, titled “Me and Dambudzo”, a personal essay and “Lake Mcllwaine”, a short story, vividly tell a romantic story in which two lovers mirror each other’s life and decide to drift together “beyond whatever ends” (Denise Levertov, American poet).

The gripping yet elevating essay “Me and Dambudzo” point at how Flora and Marechera connected in mind and life and lived through the difficulties of their differences to give way to freedom (and love) of the mind.

Written in present tense, the articles capture moments Flora shared with the “doppelganger” until his death in 1987 in Harare.

Marechera had come back from London in 1982, riding on the success of his book House of Hunger, when Flora first met him in Charles Mungoshi’s office at the Zimbabwe Publishing House. Mungoshi, then editor at ZPH, was a close writing friend of Marechera.

After their first contact, Flora writes, “I was curious to know him better” and what followed were rendezvous that would lead her “through many closed doors” and expose her to the “infatuation with the mad side of life”.

And yet even in love, Marechera refused “all types of attitudinizing”.

The essay “Me and Dambudzo” takes the reader to places down memory lane such as Oasis Hotel and the University of Zimbabwe swimming pool where love bloomed between Flora and Marechera, the Seven Miles Hotel where Flora had her first night out with Marechera, her house in Highlands where Marechera stayed, Sloane Court where she secured a bedsit for him, and Lake Mcllwaine where they had a three-day outing arranged after Marechera complained that she never spent enough time with him. She describes the outing as a “horrendous disaster”.

His feelings of alienation after his return to Zimbabwe from London, his fear of the unseen, his genius when he conducted a lecture titled “The African Writer’s Experience of European Literature” which Flora says became one of the most quoted documents in the growing Marechera scholarship, his love for ‘drink’, his composition of the Amelia poems which made Flora understand the “terrifying beauty of art”, all is captured in the essay.

Marechera, inspired by these episodes, wrote poetry which would later be published posthumously in anthologies such as Cemetery of Mind.

Many people have wondered who exactly Marechera was when it comes to love, and it is in this essay that Flora reveals the secretive yet effervescent side that reflect his longing for someone who could understand him and that someone was in the person of Flora whom Marechera would make “his mouthpiece once his voice is gone”.

In the essay she leads us to afore-said places and picks out the outstanding features that reflect the great writer’s extraordinariness and complexity of character, a complexity that has come to be the intrigue for the new Zimbabwean writers. In Marechera, incomprehensibility, both of his character and texts, is an irresistible attraction.

The unusual intellect that characterized Marechera is captured through the use of real-life dialogue and imagery and it seemed there was a power behind Marechera that drew Flora to the unpredictable writer as she writes that, despite all the tantrums that he threw, she would “crawl under his sheets again. How often? One. Two. Three times?”

A sad part of the essay “Me and Dambudzo” is the period covered between 1985 and 1987 when the ‘slow sad music’ started tolling.

It was in April 1985, Flora writes, that she fell ill with some viral infection about which she would know the truth in two years that followed. In 1986, Marechera, whose health had begun declining, goes for testicular surgery at Montague Clinic, Harare. In 1987, his doctor reveals to Flora that Marechera has AIDS. She goes for her tests and finds out she is HIV-positive but does not disclose this to Marechera as she fears it would make him ‘feel guilty’.

In 1987, Marechera’s mother loses two her nine children (Marechera would be the third loss in the family in 1987 alone) and Marechera refuses to be at the funerals although he appears at them for a short period. And next he is in hospital.

With captivating language, Flora writes about the moment she spent beside Marechera’s deathbed, feeling like an intruder, “white in a black hospital, encroaching on a foreign culture at one of its most secretive moments”. Marechera dies in the early hours of August 18, 1987.

Flora, although grieved, would later learn that Marechera’s life unlocked many doors for her as it did for the new generation of writers and let her “peek into the marvelous world beyond.”

Irene Staunton and Hugh Lewin who had founded Baobab Books persuaded Flora to write the Marechera biography and edit his unpublished works. Although at first she did not like to do it, she “took on what was to become a deeply gratifying labor of love”. And Marechera paid her back as her research into his works launched her to a recognizable level of academic excellence.

Flora wasn’t a professor at the time she knew Marechera.

The short story “Lake Mcllwaine” is a fictionalized version of the three-day outing that Prof. Veit-Wild went on with Marechera to Lake Mcllwaine, now Lake Chivero, and it explodes with the hilarious, the sad, the serious, and the usual “anger’ that Marechera blurted at anyone whom he suddenly did not trust.

Prof. Veit-Wild is Professor of African Literatures and Cultures at Humboldt University in Berlin and after Marechera’s death she was part of the Dambudzo Marechera Trust which was set up in Zimbabwe to promote the publication of Marechera’s unpublished works and to encourage young writers.

The commemorative function on March 13 at the Zimbabwe-Germany Society and Flora’s two articles in Wasafiri are proof to the continuing inspiration of a legendary writer who “refused all shackles”.

The articles by Flora are also available online at the following links http://dx.doi.org/10.1080/02690055.2012.636882  and http://dx.doi.org/10.1080/02690055.2012.636883.

Dike Okoro Reviews ‘Light and After’ by Kobus Moolman

Light and After, by Kobus Moolman
Deep South Publishers (Grahamstown: 2010)
ISBN: 978-0-9584915-7-0

Kobus Moolman’s Light and After is his fifth collection of poetry. Lyrically evocative and engaging, this collection reintroduces readers familiar with Moolman’s poetry to his confident lines, unique images, memorable language, and impressive narrative voice.  In this collection Moolman uses a mixture of prose poems and short/lyric poems to explore themes that encompass public and private dimensions.

Divided into four sections, the book opens appropriately with “Moving,” a haunting poem that uses a collage of images and an observant narrative voice to unravel the mystery of what appears to be a dream. In this poem we are introduced to a new homeowner’s obsession with his new home and the promise that comes with owning a new home. This observation becomes clear to us as the speaker declares: “It was their new house/With all the lights on /Their shiny, new, empty house / With large rooms/ And that peculiar, slightly sinister, echo that all empty houses have / Houses that have not been domesticated yet” (10).

Cleary, the majority of the poems in Light and After share Moolman’s penchant for sensory images and colorful language. For example, the poem “Old Town” uses concrete images with strong visual effect to hold the reader’s attention:

Sky closed over

grey slate cold stone

brown hills black tar

rock buried beneath

Thin light cold hands

rusted old steel trees

stiff wind small birds

exploding leaves           (22)

Several poems in this collection, including  “Umfolozi,” “False Bay,” “Hunger” “Theft,” “Burial,” “Boy,” “That Day” and “Winter Dawn,” reveal the author’s reflections on ecological, social, political, and cultural issues relating to present day South Africa. The third section of the book, which is titled “Anatomy,” presents images that easily remind us of someone with disability.  For example, the poem “The Foot (the other one)” reads “The other foot is stupid. / And small. /And not worth talking about”(51). This brief description is insightful and makes a reader think that if the poem directly addresses the condition of a person with disability, then it clearly shares with us the disappointment the person feels about his/her body part.

Overall, Light and After shares with readers the mind of a sensitive poet. Moolman is very meticulous in his choice of words. “Afterwards,” without a doubt my favorite section of the book, sums up my conclusion of this collection of poetry by Kobus Moolman: brilliant!

Reviewer Bio: Dike Okoro is a poet, short story writer, photographer, biographer, essayist and critic. He is the editor of Speaking for the Generations: Contemporary Short Stories from Africa (Trenton: AWP, 2010).

New Zim Short Fiction Anthologies to be Launched in September

The two publishing houses that habe kept Zimbabwean fiction publishing afloat during the country’s hardest time, amaBooks of Bulawayo and Weaver Press of Zimbabwe are going to launch their new fiction anthologies in the next week. On September 19, Weaver Press is launching Writing Free, which features fifteen writers. This anthology is quite promising, given the cross section of writers featured (I am one of them, which makes it even more interesting, of course): Petina Gappah, NoViolet Bulawayo, Ignatius Mabasa, Blessing Musariri and others. Here is the book’s description:

Writing Free
Edited by Irene Staunton

“In this fifth anthology of Zimbabwean short stories from Weaver Press, fifteen writers respond to the topic of ‘writing free’, and offer their thoughts about how and why they wrote as they did. The stories reflect a wide variety of freedoms: from tyranny, from hunger, from abuse, from the shackles of tradition, and even from the traditional constraints of narrative convention.But there are cautionary tales, too. Political change may be liberating for the adults who suffered for it, but will their children share in the euphoria of new-found freedom? Will a departure from domestic poverty to the calm waters of the diaspora deliver all that was hoped for it? Is the grass always greener beyond the fence of a stifling marriage?
Zimbabwe has had more than its share of social and material deprivation in recent years, and people’s responses have taken many forms. Writing Free offers an engaging and kaleidoscopic sample of these, and in doing so gives an intimate portrait of a country in transition.”

On September 24, ‘amaBooks is launching “Where to Now?”, a collection of short stories. The book is scheduled to be published next year by Partheon in the UK. Here is a description of the book: “Within the pages of the book you will meet the prostitute who gets the better of her brothers when they try to marry her off, the wife who is absolved of the charge of adultery, the hero who drowns in a bowser of cheap beer and the poetry slammer who does not get to perform his final poem. And many more.”
This book introduces many new writers, some of whom are very promising; we also have the more famous names in there like NoViolet Bulawayo, Novuyo Rosa Tshuma, and others. A book worth reading over and over again.