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The Alembi I knew

Saturday, January 16, and I am relaxing in the house minding my business, when at around 7.40 pm a text message bursts into my phone. “Ati Alembi is dead?” Was the terse message from a colleague in the office. WHAT! This can’t be! I say to myself reading the message again. Dr Ezekiel Alembi had been admitted at the Mater Hospital on Tuesday, January 12, in critical condition. I hadn’t gone to the hospital as I was waiting for him get out of ICU, that way I reasoned I would be able to chat with him, and maybe joke him out of getting off the damn hospital bed. I suddenly remembered that heavy rains had prevented me from a new year’s party he had invited me at his house in Kahawa West. You see Daktari was very faithful and generous to his friends – Yes, I considered myself his friend – and would occasionally throw parties at his house. These parties were occasions where daktari and his friends ate a lot of food and drank a lot of tea – it was always tea, and maybe juice or soda – told stories and jokes and generally laughed at levels that would not amuse the chaps at NEMA. Daktari had his seat facing the rest of the people in the living room. Actually, it was a three-sitter, which he occupied all alone, er and his many books and papers. That was his office in the house. The mass of books and papers had a clattered disorderly look about them. “You know there is order in disorder,” Daktari would defend the state of his ‘office’. “I know where I have put each and every item, and it will not take me a second to retrieve it. But if someone arranges them I will have a hectic time finding things.” His explanation made perfect sense to me. Before I got married, my house had a very disorderly look about it, but then it was convenient for me as I knew where each and every item was, even in the dark. Enter the missus and the house became very clean, neat and ordered. Problem is that I have to keep asking where everything is… I am not complaining though By failing to attend the party, I missed the opportunity to be with Daktari for probably the last time. It turned out to be the last time he shared a meal with his friends, more like the last supper, because I am told the earliest person left his house at 8pm, for what was supposed to be ‘lunch’. He called me twice after that to tell me how much fun I had missed. Oh how I really missed! But then I comforted myself with the thought that from December 18 to 20, which by the way, is less than a month before his death, I was with Daktari at his rural Ebwiranyi home, in Western Province. It had been an occasion to launch his latest book, James Mwangi: The People’s Banker. I think this was book number 40, authored by the man. Now you see why he is so important.

Dr Alembi, (right) during the launch of his book The People's Banker In Bunyore on December 19, 2009. James Mwangi is third from right. This was Daktari's last public function

However, during our time in Ebwiranyi, I could tell that Daktari was unwell. He got exhausted quite often. During other times he would excuse himself saying that he needed to rest as his blood pressure was giving him trouble. It was really sad to see Daktari reduced to such a weakling. The Daktari I knew was a bundle of energy waiting to be unleashed into the various projects he undertook with so much vigour. At some point on the dinner table, and in the middle of a conversation, he just switched off and dozed off, for about five seconds. And when he came to he had this look about him that told me that all was not well with the good Daktari. Still, he put on a very brave face, in spite of all the pain and suffering – I was later told that he was in a really bad shape. During the event, Daktari with James Mwangi, the CEO of Equity Bank, launched the Ebwiranyi Community Library, in honour of his late parents Mzee Musa and Mama Selifa Alembi. He had build a brand new house, at the cost of around Sh700,000 – he told me this – to house the library. This got me thinking, why in the face of such suffering, would he insist on pulling off such a massive project, in such a hurry. Now, with the benefit of hand sight, I think Daktari had a premonition of his death, that he wanted to get the project out of the way before he passed on. Daktari was really keen on having well-wishers donate books to his library, and asked me for ideas. Luckily I had carried two copies of my book Henry Wanyoike: Victory Despite blindness, and promptly donated them to him. I guess the best way I can homour Daktari’s memory is by organising a campaign to have people donate books, the best way I know how. Despite being a very busy man, Daktari always had time for his friends. He would invite me for lunch at KU, where we really discussed many issues. Our lunches ended up being four to five hour affairs. And Daktari was a dramatic and funny man. I remember that whenever we went for lunch at the senior common room at KU, Daktari would feign annoyance on finding that there was no ugali on the menu. “I want real food! (ugali),” he would say. “I am not a bird to eat grains (rice).” To Daktari, nothing came before a good meal. “Aah Josefu, let us eat,” he would time and again me. “Why should we starve ourselves when there is food.” And I always daid amen to that. I think it was Unoka, Okwonkwo’s father, in Chinua Achebe’s Things Fall Apart, who said that whenever he saw the mouth of a dead man, he saw the folly of not eating what one had during his lifetime… I met Daktari sometime in 2001. Then I had started writing a column I called Book World, in the Sunday Standard. Then he was plain Mr Alembi, as he had not yet gotten his doctorate degree. It took him close to eight years to get his doctorate degree, and it was not for lack of effort. During that time he time and again presented his proposals to the vetting committees at Kenyatta University, and they always managed to frustrate him. During our many talks Daktari confided in me how these individuals, who shall remain unnamed for now, frustrated him to a point where he was on the verge of losing his teaching post at KU. Then KU administration issued a circular to the effect that lecturers who did not hold doctorate degree would lose their jobs. And this was precisely the point when his tormentors had upped their tempo in frustrating my poor guy. At some point his salary was suspended, and for someone with a young family, this was really cruel. Meanwhile he had to think fast. He registered for his doctorate at the University of Helsinki in Finland, which he got in 2002. Yet this is the same person who went on to head the Literature Department at KU. This goes to prove that you cannot put a good man down. At the time of his death Daktari was the director of KU Radio services.

Whence comes another like Daktari Fare thee well Esekia.

You fought a good fight.

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Events Issues News Reviews

The first review

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

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

You can read the rest of the review here.

Remember, you can order it here

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Events Issues News Personalities Releases

Shape of things to come…

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

wanyoike

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

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

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

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Issues News Releases Reviews

Winner of the Jomo Kenyatta Prize for Literature, 2009

Henry ole Kulet’s book won the 2009 Jomo Kenyatta Prize for Literature. Yours truly had reviewed the book way back in May. I hereby share the review with you:

blossoms friday 3

After a long absence from the literary scene Henry ole Kulet is back, this time with Blossoms of the Savannah. This novel mainly dwells with the touchy issue of Female Genital Mutilation (FGM).
Now, FGM or female circumcision, remains a very sensitive topic particularly considering that there are powerful lobbies committed to ensuring that this practice is brought to an end. The issue is complicated by the fact that it involves a people’s culture, a culture that has been practiced since time immemorial. Despite the best of efforts from these lobbies and the government, getting to end the practice has largely remained elusive. Well, you do not just wake up one morning and decide that you are going to away with a particular aspect of culture and hope to succeed.
However, as much as culture defines a people’s identity, some cultural aspects have proved more harmful than beneficial. Still modern realities do not support such practices. For example, the probability of contracting diseases like HIV/Aids, arising from the sharing of blades, does not bode well for FGM.
Cases have also been documented where young girls have lost their lives following complications arising from the procedure.
In his book, Ole Kulet treats the issue of FGM in a sober and balanced manner.
He does not approach FGM in the needlessly confrontational style, often associated with the lobbies. He instead delves into the Maa traditions and demonstrates how important they are to the community.
The story revolves around the family of Ole Kaelo, who finds himself retrenched from his job and opts to relocate his family from Nakuru to Nasila, his ancestral home.
Just like any other retrenched person, he sees his survival, and that of his family, coming from venturing into business.
His two teenage daughters, Taiyo and Resian however do not share his enthusiasm. Their sudden removal from the urban setting in Nakuru to village life does not sit well with them.
They are also not certain of their prospects of furthering their education at the university.
Having been brought up in a modern lifestyle, they are mainly pre-occupied with their education, which they feel would assure them of a better life in future.
They are however in for a rude awakening. No sooner have they landed in the village than word goes round to the effect that they are yet to undergo the ‘cut’. At 18 and 20 the two sisters are already late for the cut, according to the Maa culture.
In spite of their physical maturity, they are contemptuously referred to as intoiye nemengalana, derogatory for girls who have not undergone the rite.
Their problems are far from over. Their worst nightmare yet comes in the form of Oloisudori, an evil businessman who now has their fate in his hands, thanks to a foolish deal their father entered with him.
Unknown to his family, Ole Kaelo had borrowed money from Oloisudori, which he used to establish his business. It so happens that on a visit to Ole Kaelo’s home, Oloisudori sets his eyes on Resian the younger of the sisters. He lusts for her and an idea hits his brain that he could take her for a wife.
Seeing as he might encounter difficulties in convincing the father to give out his daughter to him, he resorts to blackmailing the poor man. Either Ole Kaelo give him his youngest daughter or he recalls his debt, which includes the house he constructed.
Ole Kaelo opts for what he sees as the easier way out and agrees to pawn his daughter to save his business.
Just like other men in Nasila, Oloisudori would not marry a girl who has not undergone initiation, so he arranges for her to get cut first.
Luckily for Resian, Olarinkoi, a man who had been hanging out in their house, is at hand to ‘rescue’ her. He promises to take her to Emakererei, a woman who gives refuge to girls being threatened with the harmful practice.
Resian falls for his story and accompanies him to her ‘savior’. More shock awaits her as the man has his own evil designs on her. Like Oloisudori, Olarinkoi also wants to forcibly circumcise her and marry her.
Eventually, Resian escapes and finds her way to Emakererei, where her dream of going to university is assured. Her elder sister Taiyo is not as lucky. She is tricked and is forced to undergo the cut. Apparently, after losing Resian, Oloisudori decides to take Taiyo instead. In spite of Taiyo’s tragedy, both girls end up in the safe hands of Emakererei.
Blossoms of the Savannah has echoes of Ngugi wa Thiong’os The River Between, where two sisters are faced with an almost similar dilemma.
Muthoni opts to get circumcised but dies in the process. Muthoni’s death is interpreted as Ngugi’s way of saying that female circumcision is outdated.
Ole Kulet’s narrative is enriched with the description of the various aspects of the Maa culture. In the book, Ole Kaelo comes out as a pretty confused character. His wife does not help matters either. Instead of standing out for her daughters, she just runs along with her husband, content with protecting family property.
In spite of its obvious harmful effects, FGM refuses to die, as the lobbyists would expects it to. Could it be that their approach to the whole issue is wrong?

You can order the book online on www.enrakenya.com

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Events Issues News Releases

And the winners are…

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

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

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

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

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

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

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

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Events Issues News

And the nominees are…

Following the announcement, by the Kenya Publishers Association, that they have increased the prize money from Sh40,000 to Sh150,000 maisha yetu is proud to announce the nominees for this year’s Jomo Kenyatta Prize for Literature. The judging panel, chaired by Prof Henry Indagasi, of the University of Nairobi, announced the list of nominees as follows: For the adult English category, the nominees are Hawecha, (Longhorn) by Rhodia Mann, Blossoms of the Savannah (Longhorn) by H.R. Ole Kulet and The Big Chiefs (EAEP) by Meja Mwangi. In the Adult Kiswahili category, the nominees are Kala Tufaha (Phoenix) by Babu Omar, Vipanya Vya Maabara (JKF) by Mwendah Mbatiah and Unaitwa Nani (Wide Muwa) by Kyalo Wamitila. Nominees in the English Youth Category are Lake of Smoke (Phoenix) by Juliet Barnes and Walk with me Angela (KLB) by Stephen Mugambi. In the Kiswahili Children’s category nominees are Ngoma za Uchawi (KLB) by Atibu Bakari, Kisasi Hapana (OUP) by Ken Walibora and Sitaki Iwe Siri (Longhorn) by Bitugi Matundura. Nominees in the Children English category are A Mule Called Christmas (Phoenix) by Nyambura Mpesha, The Prize (OUP) by Elizabeth Kabui and On the Run (OUP) by Mwaura Muigania. Winners in both adult categories will win the improved prize money of Sh150,000, while winner in the Youth and Children’s categories will each pocket Sh75,000. The winners will be announced on Saturday, September 26 at Avalon Restaurant along Riverside Drive

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Jukwaani, that’s where we meet on Thursday

African culture has from time immemorial been transmitted, from one generation to the other, through the spoken word. This goes to show why the fireside stories, often told by grandmothers, occupy such a central place in the African literary setting. The study of African literature is not complete without talking about oral literature. Some of the greatest African novelists trace the roots of their prowess from the stories they were told by their grandmothers when they were growing up. Here, Chinua Achebe of the Things Fall Apart fame comes to mind. Performance literature has, over time, undergone a transformation in tune with modern trends. Still, this form of art is highly cherished in Africa. Perhaps the finest form of performance literature are poetry recitals which come in various forms, ranging from poetry slam to spoken word. In a move to celebrate performance literature, the Kenya Cultural Centre, the Goethe Institut and Alliance Francaise will be holding a one-of-its-kind festival from 17 to 20 September, whose entry will be free.Poster JUKWAANI 2

Dubbed Jukwaani! the festival will feature a blend of the new and old as far as East African performance literature is concerned. The five-day event will also feature European-based African artistes as well as those from Europe. The performances will mostly be in English and Kiswahili. Among the personalities set to perform during the festival is German-based poet and scholar Abdilatif Abdalla. Most young Kenyan’s would not be immediately aware of Abdilatif nor his achievements. In literary circles, he is best known for his protest works. The Kenyatta regime jailed him after he wrote the book Kenya Twendapi? (Kenya; where are we headed?) This book criticised the Kenyatta government for its excesses and neo-colonial stance. He was actually charged with sedition. His other book, Sauti ya Dhiki (Voice of Agony), a collection of poetry was written while he was incarcerated at Kamiti Maximum Prison. It was basically agitating for the opening up of democratic space in Kenya. Sauti ya Dhiki went on to win the inaugural edition of the Jomo Kenyatta Prize for Literature in 1974 for the Kiswahili category. Ukoo Flani Mau Mau, better known for their lyrical prowess, will also be part of Jukwaani! attractions. Ukoo Flani, draw their inspiration and creativity from the day-to-day struggles in Nairobi slums. They are based in slums of Dandora. Best known as underground artistes, these Dandora-based hip-hoppers have chosen to remain true to their impoverished slum existence by shunning the more commercial forms of creativity. Theirs is the hard-hitting poetry that depicts typical life in the slums, their suffering, in the hands on corrupt authorities, as well as triumphs. They also document the negative side of life in the slum, like the effects of crime and drug abuse. Ukoo Flani are a direct contrast to the other form Kenya’s urban hip hop, which appears to celebrate materialism, commonly expressed in the form of flashy lifestyles and bling. Proceeds of their album Kilio cha Haki are going towards the creation of a permanent studio in Eastlands. This, they argue, will help to give young Kenyans a voice and demonstrates how hip hop and music can be an alternative to drugs and crime; a source of income; a means of voicing social and political protest. Truth be said Ukoo Flani boasts some of the finest urban poets in Kenya today, and it is their lyrical prowess that will be showcased at the festival. Tony Mochama, also known as the Literary Gangster, for his unconventional and often abrasive poetry, will also be performing at Jukwaani! The moniker Literary Gangster was inspired by the title of his book, What if I am a Literary Gangster, a collection of poetry. Other featured performers include Dalibor Markovic, Sheikh Ahmed Nabhany, Talking Drums of Africa, and Zamaleo, among others. While the example of Abdilatiff Abdalla goes to show that performance literature has been in existence for a long time, particularly among the Swahili people, the idea of performance poetry has caught up among urban youth in the last four years. Perhaps the best known is Open Mic poetry sessions organised on a monthly basis by Kwani Trust. The idea of Open Mic is borrowed from the American inspired Poetry Slam. Here a number of poets take to the stage to perform their poems and are awarded points from either a panel of judges or the audience. Spoken word is the other form of performance poetry, which is often accompanied with a musical background. Compared with Southern African countries, East Africans lag behind when it comes to performance poetry. Zimbabwe for example, has a well-established poetry movement, which has been at the forefront in the agitation for opening up of democratic space in the country. Jukwaani! as the name suggests, will mainly centre on what is on show on the podium. Jukwaani is Kiswahili for on the stage or podium. Jukwaani! hopes that the boundaries separating the performer from the audience will be shattered leading to a situation where the audience is fully involved.

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A tribute to Kimani Maruge

When Kimani Maruge burst into the public limelight, I thought it was a bad joke, a publicity stunt gone too far. Seriously, how could a man aged over 80 enrol in Standard One? Nevertheless, I followed his ‘educational career’ with detached interest.
Two years down the line the man was still at it. So the guy was serious after all? I was now asking myself. Slowly he was winning me over. And yes he had become a media superstar. Boy, did the media love Maruge? And he rarely disappointed. He always came up with soundbites, that TV people ran over and over again.
My most enduring image was of the old man with a blue (I am colour blind) blazer, with matching knee-length shorts. His socks were always pulled to the base of his knees. And below them was a pair canvas shoes popularly known as Bata Bullets.
Thus dressed, and with his ubiquitous cane Maruge would drag one heavy foot after the other on his way to school.
It did not take long before the folks at Guinness Book of Records took notice, and he promptly entered their books for the dogged way he sought to get educated. He became the world’s oldest pupil.
This man kept telling everyone who cared to listen that he went to school so that he would be able to read the Bible, and soon he was reading his favourite book.
It was worthy noting here that Maruge despite his advanced age wanted to learn how to read. His example put to shame many people who soon after they are through with formal schooling throw away their books. You’ve probably heard of infamous academic bonfires, where secondary school leavers pile all their books and set fire to them.
In their foolish thinking that is the end of them and reading. These are people who have been socialised to think that reading is a form of torture, that is only tolerated for the sake of sitting exams.
During the just concluded Storymoja Hay Festival I attended a session where Muthoni Garland, the managing director of Storymoja, told the story of a young woman who came looking for a job in her firm.
When Muthoni asked the young woman the last title she read a book, the young woman shamelessly told her that she no longer reads and she had now finished schooling! Muthoni says she was scandalised and rightly so. Here is a person who hopes to be employed in a publishing firm, and who does not read.
Well, that girl is in good company. There are quite a number of people who work in our publishing houses, who do not read. Don’t ask me how I know.
Back to Maruge. As a media star, his star never faded. He continued to attract media attention in almost everything he did. Such was his star power that the Kenya Publishers Association (KPA) invited him as a guest during the 2005 edition of the Jomo Kenyatta Prize for Literature awards at the Nairobi International Book Fair. Marugi Photo
In his speech Maruge, then in Standard Five, counselled on the need to cultivate a healthy reading culture. He also took the opportunity to urge the youth against engaging in casual sex.
After that Maruge retreated to his quiet lifestyle in Kenya’s Rift Valley, where he continued with his studies. The next time I heard major news on him was after the post-election violence, where he was talking to the media from an Internally Displaced Persons’ (IDP) camp.
He had been ejected from his home for belonging to the ‘wrong tribe’.
And that is how he landed in a home for the aged, in Nairobi, from where he continued with his education. All this time, he pledged to pursue his education up to university level.
By now, Maruge was looking frail, and he spoke with difficulties, but still his star power was unmistakable. Everything he did attracted media attention.
This included his baptism ceremony at a Nairobi church. Meanwhile Hollywood was planning to shoot a major movie based on his life. Titled the First Grader, the movie unfortunately, could not be shot in Kenya as the relevant authorities levied exorbitant taxes on the moviemakers. South Africa gave them tax incentives they sought and that for the umpteenth time the South African country got to shoot a movie originally destined for Kenya.
I must mention here that I was involved, in a small way in scouting for a suitable person to play the part of Maruge, but that is a story for another day.
Maruge died on August 14, at the Chesire Home for the aged in Kariobangi North, where he was staying, from complications of stomach cancer. He was aged 89.
Fare thee well Maruge. You fought the good fight. I propose a literary award in honor of the old man. Any takers?

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Events Issues News

Does more prize money = more creativity?

Creative writers in Kenya will be in for a major treat at the annual Nairobi International Book Fair (NIBF) set to be held towards the end of September. For the first time, the winner of the Jomo Kenyatta Prize for Literature will take home a substantial amount of prize money.
The Kenya Publishers Association (KPA) who are the organisers of NIBF told maisha yetu that winners in the two adult fiction categories – English and Kiswahili – will each get Sh150,000 in prize money.
This is a major improvement from the miserly Sh40,000, previous winners used to receive, for the bi-annual award, the most prestigious in the country.
Other categories in the award, namely the youth and children’s writing will each get Sh75,000.
The increase in the prize money was made possible when the Prize’s main sponsors, Text Book Centre (TBC) presented the KPA Council with a cheque worth Sh800,000 to go towards the fund.
TBC has had a long history with the award. The award ran into financial trouble soon after its first edition in 1974, where Meja Mwangi’s book Kill Me Quick and Abdulatif Abdalla’s Sauti ya Dhiki, won the English and Kiswahili categories respectively.
After a long hiatus, members of the KPA council approached the management of TBC, in 1990, with a view of helping revive the award, which had been formed to encourage and reward creativity in Kenya.
TBC agreed to sponsor the award and donated Sh200,000 for the Prize Mr. C.D. Shah, a director of Text Book Centre, says that their decision to support the award stems from the fact that they had cordial working relations with publishers. “Being the biggest booksellers at that time, we were also their biggest customers,” he says. Text Book Centre has been in the business of selling books since 1950s, thereby making them the oldest booksellers.
TBC has handed over Sh200,000 on a bi-annual basis ever since.
In 1992, the prize was revived and Wahome Mutahi’s book Three Days on the Cross shared the first prize with David Maillu’s The Broken Drum. In 1995, the first prize went to Margaret Ogola, for her book, The River and the Source, Margaret Ogola’s book went ahead to win the Commonwealth Writers prize the same year.
In 1997, the first prize went to Ngumi Kibera’s book Grapevine Stories, with the Kiswahili prize going to Emmanuel Mbogo’s Vipuli vya Figo.
In a move that was deemed controversial, in 1999, judges decided that the books that had been submitted lacked creativity and therefore did not award any prize.
In 2001, Meja Mwangi again won with his book The Last Plague. Kyalo Wamitila’s Nguvu ya Sala took the Kiswahili prize. In 2003, Stanley Gazemba won the Jomo Kenyatta Prize for Literature with his book The Stone Hills of Maragoli.
In 2005, judges failed to award the first prize in the English category, arguing that the titles submitted were not strong enough. They however awarded the second prize, which went to Muroki Ndung’us A Friend of the Court.
In the Kiswahili adult category, the first prize went to Kyalo Wamitila’s Musaleo.
In 2007, Marjorie Oldudhe’s book A Farm Called Kishinev won the Jomo Kenyatta Prize for Literature under controversial circumstances. There was disagreements among judges as to which book, between Marjorie’s and Margaret Ogola’s Place of Destiny, deserved to win the prize.
The controversy led Pauline’s Publications, Ogola’s publishers, to boycott the NIBF since.
Apart from the River and the Source, which went on to win the Commonwealth Writers Prize, other winners of the award have little to show for it.
Critics have accused KPA of making little or no effort at all in marketing or publicising the award. The situation is such that these writers are barely known outside of the publishing and writing fraternity.
Perhaps the saddest story is that of Stanley Gazemba, whose book, The Stone Hills of Maragoli, published by Acacia, and which won the prize in 2003, has been out of print for a number of years now. The author has been engaged with the publisher in a long-running tussle, to make the book available.
The author says that only 500 copies of the book were published. Gazemba is however elated that the efforts of authors are finally being recognised. “They should have increased the prize money a long time ago,” he says. “What they used to give previously was a joke.”
The same fate is suffered by winners of the Wahome Mutahi Literary Prize, formed to honour the late humourist. Although Oduko bw’ Atebe’s book, which won the inaugural prize in 2006, is readily available in the market, the author laments that it should have sold better, had KPA invested in a more aggressive campaign.
Blame here should also fall on the individual publishers, who should also take advantage of the win, to aggressively push the book in the market. But in a publishing market that overwhelmingly feeds on the government funded textbook market, it might be too much to ask of them to invest substantially in marketing a non-textbook.
Mrs Nancy Karimi, who is the chairperson of KPA promised that with the windfall from TBC, the publishers’ body should make a difference in the whole marketing of their prizes.
“The increase in prize money should now trigger more creativity from our writers, as their efforts are now better rewarded,” added Mrs Karimi, who is also the managing director of Jomo Kenyatta Foundation.
Mr Rajiv Chowdhry, the managing Director of TBC explained that their decision to increase the fund came as a result of the fact inflationary forces experienced in the country over the years have seriously eroded the value of the earlier award of Sh40,000.
TBC has promised to donate an additional Sh1.6 million to cover the 2011 and 2013 editions of the prize.
During the handing over ceremony, done at the refurbished TBC offices on Kijabe Street, both the management of TBC and the KPA Council hinted at the inclusion of more categories, in future, subject of availability of funds.

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Events Issues

Role of media in promoting creative writing

I recently was invited to presented a paper, at a Ministry of Culture sponsored workshop, on the above subject and below are my thoughts.

Media continues to be an important tool in the dissemination of information in the country. This perhaps explains why media occupies such an exalted if not powerful position in the society we live in. This position of influence, if well harnessed, can bring about positive transformation in the society.
Ideally, media is supposed to serve the masses who consume it. However the reality on the ground is such that, due to ignorance, on the part of the public, media in Kenya is viewed with suspicion, in that it exists to serve not those it is supposed to serve.
Many of you gathered here today will agree with me that worst, the media is perceived as a tool to ‘fix’ out people one has some form of quarrel with. Even then, it is a privileged few who have access to media. In short media is seen as a vengeful agent to be avoided at all costs.
At best, media is seen as an avenue to being famous, and this fame is mostly associated with riches, and not many people like the idea of remaining poor. On that respect alone, media and media practitioners are much sought after.
As a media practitioner I have had occasion to encounter both extreme perceptions of the media from the public I interact with. “Si utaniweka kwa gazeti?” comes the hopeful question from those believe that only good can come from the media. “Wewe, usiniweke kwa gazeti!” is the admonishment from those who think the media is out to harm them. And in the case of the latter, it is not uncommon to hear incidents where media practitioners have had their lives threatened.
It is against this background that we must look at the role of media in the promotion of cultural content. It is also important to note that in the Kenyan media scene, not much premium is placed on culture and the arts, where creative works lie.
A casual glance at the Kenyan press will reveal the heavy bias towards reporting politics and politicians, little wonder politicians call have so much influence in our society, such that almost everything they say or do is rarely questioned.
Last year’s post-election violence is enough testament of the pervasive influence politicians have on us.
But I digress. The fact of the matter is that very little space is given to the coverage of the arts. Even in the newsrooms where we work, art and cultural writers are not taken that seriously. The unwritten rule, both in the newsroom and outside, is that you have to be a political writer to be taken seriously.
The other day I attend a joint forum for artistes and art journalists, when a well-known thespian made the unsubstantiated allegation to the effect that journalists only take up art writing, while waiting for better prospects… of eventually becoming political writers.
Well, let me say there are committed art and cultural writers, who would never substitute what they do, however unglamorous, to follow politicians around.
I long for the day when the leading news items will be Njue Kamunde (a children’s writer) holding a press conference to announce the arrival of his latest book. The reality however is such that Njue would probably not have the guts to approach a media person.
Yet, Njue, or any other writer for that matter, needs to be able to command the attention of a journalist at any given time.
When you talk about a creative writer, we are in essence talking about intellectual property. In countries like the US, the intellectual property industry is worth billions of dollars. Hollywood alone contributes a very significant proportion to the exchequer in that country.
Maybe to speak in more familiar terms names like Robert Ludlum, John Grisham, just to name but two, should be able to tell you the power of creative writing. If Grisham, for example decided to comment on the proposed health care plan in America, chances are that he would knock Obama off the headlines.
No matter how eloquent our Njue is, he can not even dream of sharing his thoughts on, say, the prosecution of post-election violence suspects, not unless he decides something out of the ordinary.
This point brings to mind Okoiti Omtata, a creative writer, who in order to get heard, had to chain himself to the fence at police headquarters. Today Omtata is known more for his political and not cultural activism. Not many people know that his play, Voice of the People, which won the Wahome Mutahi Prize for Literature, in 2008.
To remedy this situation, there needs to be a paradigm shift in the way the creative industry operates in this country. I think it is high time players in the creative industry engaged the media in a meaningful dialogue.
As an art and culture writer, I run a weekly column on happening in the industry, and every week, I have to prod people in the industry to give me material for the page. At times I am forced to beg to get this information. How do you then expect my editor to take me seriously when the political writer is spoilt for choice over what to write?
Not that there is nothing happening in the creative and cultural industry, it is just that players in the industry do not think it merits any attention. You see when I have more than enough material to put on my page, only then I can convince my editor to give me more space.
Along the same lines I challenge the parent ministry to take a more proactive role in promoting the creative/ cultural writing industry in the country. It is so disappointing when all the major literary prizes are scooped by Southern and West Africans.
I believe with more exposure, and need I say trainings, our writers can compete effectively with their colleagues in the West and Southern African countries. Then, they can be able to make news, not only locally, but also internationally.
This is not to say that the media is free from blame. Far from it. Our local media needs to take an affirmative action approach in the coverage of the arts and culture in the country. Maybe when artistes and cultural practitioners notice that their industry is being taken with more seriousness and sensitivity, then they would be more forthcoming with information. Who knows, it would spur more creativity.
Artistes and cultural practitioners, and supporting bodies like the Culture Ministry, should also take it upon themselves to sensitize media practitioners on the finer details of their operations and activities. This should be in the form of trainings and seminars.
As things stand, there is a lot of ignorance in our media, as regards what art and cultural reporting entails. Again going back to art and art writers’ forum, some of the artistes accused the journalists of not understanding what they do. To them, I will say this; If you do not take the trouble to enlighten me on what it is that you do, how do you expect me report you accurately and favourably?
With the help of more accurate, effective and informed art and cultural writing, our creative writing gets wider exposure. This exposure leads to more awareness among the reading public – and let us not talk about Kenyans poor reading habits here – and this translates into more sales and therefore better earnings.
And in conclusion, I will say here that with more meaningful dialogue between artistes and art writers, then Njue will only be too happy to see me than threaten me with dire consequences if I ‘put’ him in the papers.
And by meaningful dialogue, I mean that Njue should be able to understand that I will time and again be called upon to criticize his work, if only with a view growing him.
That said I would rather Njue be mad at me for pointing out his weaknesses, than have him happy with me covering up his mediocre output.