READERS' CORNER: Why Swahili literary critics should break their silence

Why Swahili literary critics should break their silence

by Enock Matundura

Way back in 2002 when I was attending a regional Kiswahili conference in Arusha, Tanzania, Prof Kimani Njogu — then a don at Kenyatta University — stunned the conference when he narrated an episode in which a professor of literature once told him that he did not think he had missed anything by not reading Kiswahili literature!

An agitated Njogu told us how he was at pains to show him that at the very minimum, he had missed on the impact of the 1964 Zanzibar revolution on literary creativity and the artistic portrayal of ujamaa philosophy – eloquently depicted in the works of Euphrase Kezilahabi (Rosa Mistika, Kichwamaji and Gamba la Nyoka), Ebrahim Hussein (Kinjeketile, Mashetani and Ngao ya Jadi) Adam Shafi’s (Vuta n’Kuvute and Kuli) among others.

“In any case, what dignity is there in not knowing? Should we not be motivated by the spirit of searching?” Prof Njogu quipped. He has discussed in detail how Kiswahili writers artistically captured both ujamaa and the Zanzibar revolution in his book Uhahiki wa Riwaya za Visiwani Zanzibar (Nairobi University Press, 1997).

The motif of treating Kiswahili literature as inferior compared to English literature is also reproduced biannually during the Jomo Kenyatta Literature Prize (renamed Text Book Centre Jomo Kenyatta Literature Prize) award ceremony, where the winner in the English adult category is given a chance to give a speech and the Kiswahili counterpart is left out.

Not so long ago, Dr Godwin Siundu, a literature scholar at the University of Nairobi, wrote an article titled ‘Is Zanzibar the blind spot in East African Literature?’ (Saturday Nation, June 14, 2014) in which he based his arguments on a single Zanzibari writer who writes in English — Abdulrazak Gurnar — oblivious of the fact that Zanzibar has very many other writers who write in Kiswahili. They include Said Ahmed Mohamed, Mohamed Suleiman Mohamed, Mohamed Suleiman Abdulla, and Shafi Adam Shafi, among others.

The impression I got after reading Dr Siundu’s article was that, to him, Kiswahili literature is an underdog compared to works written in English and that is why he either did not bother reading Zanzibari writers who write in Kiswahili or he is ignorant of their existence.

Indeed, when we take stock of the vibrancy of creative writing in East Africa, there are more Kiswahili works being churned out compared to those written in English. Kiswahili writers are way ahead of their English counterparts in matters experimental writing. The Kiswahili novel enjoys quite a number of writers who do not conform to formalism. Such writers include include S.A. Mohamed (Babu alipofufuka, Dunia Yao), Emmanuel Mbogo (Vipuli vya Vigo), Euphrase Kezilahabi (Nagona and Mzingile), William Eliezer Mkufya (Ziraili na Zirani) and Kyallo Wadi Wamitila (Bina-Adamu and Musaleo), and Tom Olali (Mafamba and Watu wa Gehenna). In playwriting, Dr Timothy Arege and Prof Kithaka wa Mberia come out as promising playwrights — at least judging them by their plays Kijiba cha Moyo and Kifo Kisimani, respectively. Kijiba cha Moyo rivals Ebrahim Hussein’s Mashetani in terms of complexity.

However, despite all these developments, Kiswahili literature continues to be ‘belittled’ because of the difficulties associated with reading works written in Kiswahili and other indigenous languages (especially among the elite). Yet Kiswahili literary works do capture some of the challenges Kenya is grappling with.

The gender debate and the empowerment of women, for example, are captured in the epic Mwanakupona written almost 100 years ago. Corruption and greed has been portrayed in Utenzi wa Al-Inkishafi, written in the early 19th Century by Sayyid Abdalla Bin Ali Bin Nassir. In the epic, the poet shows how the once- prosperous Pate Island sunk to ruins due to excesses of its leaders.

Moreover, since its inception four years ago, the ‘Literary Discourse’ has had very few contributions from Kiswahili literary scholars. This has portrayed a ‘bad’ picture that nothing meaningful is going on in Kiswahili scholarship in. However, the few voices that come forth once in a while include Prof Kitula King’ei of KU, Prof Kithaka wa Mberia of the UoN, Prof Ken Walibora of Nation, and myself. Yet, we also have Kiswahili scholars who have contributed immensely to literary criticism.

They include Prof Kyallo Wadi Wamitila and Prof Mwenda Mbatiah, both of the Uon. We also have Dr Timothy Arege, Dr Richard Makhanu Wafula, Dr Pamella Ngugi – all of KU.

There are also Kiswahili literary critics such as Profs Chacha Nyaigotti Chacha, Prof Kimani Njogu and Dr Wendo Nabea of Egerton, Prof John Kobia of Chuka University and Prof Clara Momanyi of Catholic University, and Prof Owen McOnyango (Maseno University), among others.

I therefore call upon Kiswahili literary critics to come forth and debate in the Literary Discourse forum to end the notion that Kiswahili literature is inferior.

Enock Matundura, translator of Barbara Kimeny’es ‘Moses’series (Oxford University Press), teaches Kiswahili literature at Chuka University

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Language is key to good performance

By Michael Macharia

At the beginning of March every year, there is anxiety in schools before the KCSE results are released.

Despite the fact that the ranking of schools is no longer announced, teachers, students and parents still yearn to know how their school performed.

After the dust has settled, it is usually time for those that did dismally to reflect on the causes. One of the major challenges of today’s learner is languages. Ironically, they have easier access to facts and material than in the past. The Internet can be an

invaluable source of material. Several course books are approved by KICD and the titles published in the Orange Book. In addition, the mainstream publishers have revision series featuring virtually every subject. Therefore, a student who wishes to do well

has many options.

Many students strive to improve in maths and sciences. They don’t do much in English, which they consider easier. In the process, they ignore the vehicle they will need to succeed in all subjects.

Yet when you look at responses in exams, you discover that student’s language is yawning. Common mistakes are prevalent and the examiner can only guess what the student meant. Many cannot construct a simple sentence. Some write long winding sentences which are not punctuated. These sentences can be as long as a whole paragraph. In the process, meaning is lost.

The cause of poor communication is the fact that letter writing as an art is no more. These days, people communicate using text messages, where grammar and beauty of expression are ignored. They also use e-mails even for business matters.

In the past, students enjoyed reading local and foreign writers as a pastime. They read writers like Camara Laye, Meja Mwangi, Mwang Ruheni and Grace Ogot even without prompting. They also savored series such as Hardy Boys, Famous Five and Moses. Cartoon series like Tin Tin got children really interested in books. By Form Three, they were ready to be introduced to literature formally.

Of course, these days students prefer to interact with virtual friends on social media in cyber cafes or through mobile phones. They are no longer engrossed in thrillers, preferring to watch movies instead.

In general, success in exams is pegged on ability to communicate accumulated knowledge. Schools that hope to improve should treat languages with the seriousness they deserve.

The writer is based in laikipia

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The art of writing is not for the fainthearted

By Oumah Otienoh

I have on several occasions been involved in chitchats with friends who aspire to become writers. Most times their fear lies in starting the actual process of putting pen on paper.

This week, an e-mail I received from one of my former students who is currently pursuing Nursing at Moi University stirred me up to give writing tips for up-and-coming writers. In her message, she requested me to be her guide in matters writing. I told her that I would surely assist her to hone her writing skills.

Dear reader, writing is never an easy task. Sometimes when one picks a topic to write about, it is never automatic that words will freely.

Just last week when I gave a deserving praise to my former vice-chancellor at Kenyatta University, Prof Olive Mugenda, in an article titled: ‘Mugenda left an indelible mark at Kenyatta University’ (Saturday Nation, 2 April, 2016), words failed to freely flow off my mind.

According to Ernest Hemingway, the first draft of any artwork is most times a bit messy.

Every writer should also borrow from Stephen King’s philosophy of being an avid reader. King says: “If you don’t have time to read, you don’t have time, or the tools, to write.” I am sometimes perturbed at my contemporaries who want to write n our national dailies but seldom open a book to read.

In writing, experience is also a key component as it bequeaths one with material to write about. One must experience more of life than an ordinary person.

Many want to thrust into writing expecting quick cash. If one wants to get rich quick, then I would advice that he buys a lottery ticket or subscribes to sports betting.

We, writers, write due to the never-ending thirst of writing and not for money, though sometimes we are handsomely rewarded.

Any budding writer should also attend writing clinics in order to sharpen their writing skills and at all times keep a journal.

And finally, one needs to write when the heat is still on. Those who dream of taking leave to lock themselves up in some far off land in order to write seldom become prolific writers.

The writer is a literary critic and teaches at Ng’iya Girls’ High School in Siaya County

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We have a duty to take care of our vernacular

By Solomon Muya

Okelo Nyandong’s article titled ‘Trying to popularise vernacular for Kenyan literature is a waste of time’ (Saturday Nation, April 2, 2016) cannot go unchallenged. It reminded me of our family gathering last Christmas when my cousins were unable to

communicate with my grandmother.

In the contemporary world, local languages are the easiest way to connect us to our culture. But as the old is cleared away, we are gradually becoming strangers in our own cultures.

Those who converse in their indigenous languages uphold a certain cultural pride. My cousins look at me with admiration. They feel deprived of something: lack of ability to express themselves in vernacular. This might be the Ngugi wa Thiong’o motive:

“Mother tongue first; then add to it, as necessary, that is the way of progress and empowerment.”

But Okelo argues that English and Kiswahili are languages of the education system, media, courts and places of worship. I wonder whether he knows that vernacular languages are spoken in rural areas where there are shrines, traditional courts and

vernacular radio stations.

Other the critics say that local languages promote ethnicity and hatred. One of the worst genocides in the world occurred in Rwanda, yet the Hutu and Tutsi share the same language, religion and culture. True unity is never founded on language but national

conventions.

Prestige alone can never favour a particular language over others if it does not have scholarly, economic or interactive benefits. Factually, English was thought to be a language for nobility, the rich and the learned. Bt this mindset is diminishing.

The writer is a journalism student at Masinde  Muliro University of Science and Technology

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Men have lost the modern war to women

by Kawira Kanini

Egara Kabaji’s piece on culture titled ‘The end of men and the rise of women’ (Saturday Nation, April 16, 2016) was an interesting read. It made my day. The conclusion that “men have lost the old architecture of manliness and have not replaced it with any

new one and are only left with ornamental masculinity” is factual. Nowadays an African man will shamelessly act chauffeur, butler, bodyguard and once-in-a-while ‘husband’ to a woman as long as his bills are paid.

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