December 21, 2012
‘You should easily be able to find something from Madagascar,’ said a friend a few months ago. ‘It’s massive.’
Massive though the world’s fourth-largest island nation may be, its literature is not widely translated. In fact, there’s so little out there that, seeing the gap on my list, Sophie Lewis, Editor at Large at And Other Stories, offered to lend a hand. She sent me her translation of a short story, ‘Za’, by Francophone Malagasy writer Jean-Luc Raharimanana. The story on its own would not be enough – it had developed into a novel but this was not yet translated; however, she would contact Raharimanana to see what else he could suggest.
The next day Lewis was back with the news that not a single Malagasy novel had been translated into English. Given what I’ve found to be the case with several other Francophone and Lusophone African countries this year, this didn’t surprise me a great deal, but Sophie was shocked – so much so that she’s determined to do something about it and is keen to hear about Malagasy novels that might be suitable for And Other Stories to translate and publish (please put your suggestions at the bottom of this post).
In the meantime, however, there was only one book that fitted the bill for my purposes: Voices from Madagascar, edited by Jacques Bourgeacq and Liliane Ramarosoa.
Published in 2002, the anthology brings together prose and poetry from more than 15 writers, including Raharimanana, in an effort to address the lack of translated Malagasy literature (which its editors claim stems from the country’s political isolation during its Marxist era and the fact that none of its publishers distribute abroad). Presented in parallel with the original French texts, the works range from bleak, violent tales such as David Jaomanoro’s ‘Funeral of a Pig’, in which a son orchestrates a brutal attack on his mother, through to bombastic, witty pieces like Lila Ratsifandriamanana’s ‘God Will Come Down to Earth Tomorrow!’, in which the world anticipates a visit from the Almighty.
There is a great deal of anger in this book, particularly in the early stories. This comes through in hard-hitting, personal pieces such as Raharimanana’s ‘Case Closed’, which sees an abused woman forced to aid a trafficker by sewing drugs into her baby’s corpse, as well as sharp, satirical stories like ‘The President’s Mirror’, in which writer Bao Ralambo goes to town on the fickleness and narcissism of the title character. There are also more rounded, extended works like Jean-Claude Fota’s ‘Walk No Work’, which depicts brilliantly the mental disintegration of a bright graduate in the face of continual rejection and lack of opportunity, recalling such bildungsromans as Knut Hamsun’s Hunger and MT Vasudevan Nair’s Kaalam.
In addition, the collection provides some fascinating glimpses of Malagasy customs and mores. The shocking tradition of insulting a corpse to honour it at a funeral, for example, crops up several times, while there is an almost magical sense of the clash between the old and the new in stories such as Narcisse Randriamirado’s ‘Grandmother’. We also witness the way that many customs are weighted against gender equality in ‘In the Top’ by Alice Ravoson, which sees a woman strive to put herself through university in the face of family expectations that she will remain tied to domestic life.
As is nearly always the case in an anthology like this, some pieces come across better than others. While there is a lovely, poetic quality to much of the prose writing – no doubt owing to the fact that many of the writers work in both forms – it sometimes tips over into opacity and vagueness. The unrelenting shock and violence of the early pieces may also put some readers off, which is a shame as the collection broadens out beautifully.
Overall, though, as a tasting platter of Malagasy literary talent, this is a flavourful and moreish offering. Reading it adds to the sense of how many great works we must be missing because of the lack of cultural exchange to date. It’s surely high time that changed, so go on, tell me: what Malagasy novels should we English-language types be reading?
Voices from Madagascar ed. Jacques Bourgeacq and Liliane Ramarosoa (Ohio University Press, 2002)
November 27, 2012
While it’s hard to find books from some nations, other countries are simply hard to find full stop – at least on the internet. Search for Nigerien literature (ie literature from Niger) and often as not Google will ask you if you meant ‘Nigerian literature’. And when it comes to tracking down information about the West African nation of Benin, you might well find yourself reading about events in Benin City, Nigeria by mistake.
In fact, I very nearly ended up reading a whole book from Benin City in error. The memoir, I Remain, Sir, Your Obedient Servant by Omo N’Oba Erediauwa, was listed on a bookseller’s website as being from Benin. Not having been able to find much other Beninois literature in English, I ordered it a few months ago and added it to the pile of books waiting in the corner of my living room.
It was only last week, when I picked the volume up with the intention of reading it and turned to the back to look at the blurb, that the penny dropped. Instead of perusing the biography of a senior Beninois politician, I was puzzled to find myself confronted with an account of Erediauwa’s education in Benin City and his experiences during the Nigerian Civil War. It took quite a bit of head-scratching to work out what had gone wrong.
This left me in a quandary. I could count the number of weeks left until the end of the year on my fingers and, given how little my preliminary searches had turned up, I was not at all confident that I would be able to find any kind of story from Benin that I could read in English before 2013.
A few hours of frantic googling ensued, during which I entertained all sorts of unlikely possibilities. I was on the point of investigating the cost of flights to Porto-Novo, when I stoogled across Harlem-based writer Rashidah Ismaili Abubakr. Born in Cotonou, Benin, Ismaili came to NYC as a teenager in the late 1950s with the hope of becoming Africa’s first opera singer, according to her profile on the Woyingi Blog. Instead, however, she took up psychology and began to write and has published several collections of poetry.
A number of articles I saw about Ismaili mentioned that she also writes short stories, although I couldn’t find any of her prose collections available to buy. So, with nothing to lose, I decided to contact her to see if she could help me out. Ismaili replied with the news that a collection of her short stories was in the process of being prepared for publication. The book was not ready yet, but she kindly agreed to send me the manuscript so that I could read it. Delighted and more than a little relieved, I downloaded the file onto my Kindle and got stuck in.
Set mostly in West Africa, Stories We Tell Each Other brings together a series of pieces about people coming up against injustice, discrimination and the limits that society puts on them because of their gender, race or age. There is the young girl set on going to university in the face of her male relatives’ scorn for the idea of educating women, the teenager who lives in fear of being forced to undergo female genital mutilation, and the boy who travels to join the People’s Liberation Army in South Africa.
Ismaili’s eye for detail makes these struggles real. The sadness and anger of ‘Into This House We Come’, for example – in which a woman attends the funeral of a friend infected with AIDS because of her husband’s promiscuity – live in the narrator’s memories of the dead woman’s laughter and her love of dancing. Similarly, the writer lays bare the pretensions of Khadiatou’s relatives in ‘Ici On Parle Francais’ with the simple revelation that her aunt changed her name from Salimatou to Sally ‘after having gone to London once’.
For all the problems facing the characters, the narratives convey a great deal of pride in West African culture. From depictions of personal rituals such as Khadiatou’s grandmother setting an extra place at the table for their stolen ancestress, through to explanations of the significance of particular insults and the traditions that mean an uncle can also be called a brother, Ismaili takes the role of a guide, interpreting unfamiliar concepts for readers so they too may inhabit the world of the book. Indeed, her evocation of domestic life in Benin is often so warm and inviting that it almost makes you homesick for a place you may never have been.
With this pride and love of place comes of strong sense of the importance of championing the independence and rights of Africans. This gives rise to some powerful, angry writing, as in ‘Coloured Beads and Glass Trees’, in which an exiled politician returns home in an attempt to avert a crisis and, among other things, discovers the grubby conditions attached to Western aid in the region. However, it can at times hi-jack the stories, particularly in the latter third of the book, causing the plots to buck and jerk under its weight. For example, ‘Tandi’, in which a lonely secretary gets swept up in the struggle against apartheid in Johannesburg, creaks a little in the effort to contain all that Ismaili wants to say. In addition, devices such as the radio reports that break into the text, begin to lose their effectiveness with repeated use.
Overall, though, there is a lot to like in this book. Ismaili is at her best when she is writing about the small details that bring meaning to people’s daily lives. In this, she has that rare gift of being able to take readers by the hand and introduce them to lives and concerns very different from their own. An extremely lucky find.
Stories We Tell Each Other by Rashidah Ismaili Abubakr (publication pending)
You have just three days left to vote for my penultimate book of the year. Go on, tell me what to read!
November 20, 2012
I first caught wind of my Turkmen book back in July, when the Scottish Poetry Library tweeted that exiled poet Ak Welsapar was popping up to Scotland from Poetry Parnassus in London to do a reading. Ever the opportunist, I fired off a tweet asking Library staff to see whether Welsapar could recommend a Turkmen prose work that I could read in English. A correspondence ensued with Sarah Stewart, manager of the SPL’s excellent Written World project. As far as she knew, Welsapar had a novel in English due out soon. Perhaps I would be able to read that?
I dropped Welsapar a line. Luckily, it turned out his English was much better than my Turkmen, Russian and Swedish (the three languages the author writes in). He told me that he had not one but too novels in translation in the pipeline: Cobra was due to be published by Silk Road Media in London towards the end of the year if everything went to plan, while The Tale of Aypi was being translated in the US with the manuscript scheduled to be ready in the autumn. He kindly agreed to send me a copy of this, the first ever novel to be translated directly into English from Turkmen, when it was done. And so it was that a couple of weeks ago, a rather special attachment arrived in my inbox. I clicked the file open and began to read.
The Tale of Aypi is set in an isolated community of Turkmen fishermen on the coast of the Caspian Sea. With the threat of relocation to the city in order to make way for a lucrative asthma sanatorium looming, the inhabitants face sacrificing their traditions and customs at the dubious altar of progress. But not everyone is prepared to go quietly: loner Araz refuses to leave and flouts the new fishing ban to continue his trade, while, beneath the waters, the ghost of wronged woman Aypi, whose story has haunted the village for centuries, begins to stir and seek revenge.
Welsapar is skilled at making us empathise with a diverse range of viewpoints. At first, in light of Araz’s passionate speeches to his long-suffering wife about what it means to belong to a place and a way of life – ‘If a man can’t follow his father’s trade, what’ll become of him? A man should be able to do what he loves! Is that possible or not?’ – it is hard not to see the rest of the villagers’ acquiescence in the relocation scheme as spineless. Yet, as the novel progresses and we discover the campaign of neglect the authorities have waged in the region, cutting off the most basic services to make life there impossible, and the concerns of the elderly inhabitants about their separation from the urban lives of their children and grandchildren, a more rounded and wistful picture emerges.
The marriage of Mammed Badaly’s son to an influential city worker’s daughter demonstrates this most powerfully. Afraid that his daughter-in-law and her esteemed guests might spurn his home altogether, Badaly waits anxiously for the wedding procession that should by tradition come to his house:
‘Mammed Badaly, though, feared it wasn’t just a matter of setting customs aside, but a grave concern for the present and the future. If the old man’s son and his bride refused to cross the threshold of their own parents’ home on their wedding day, how would it be later on, with their grandchildren? Wouldn’t they repudiate their grandparents entirely?
‘Yes, the village was old; the houses were dilapidated wrecks without polished embellishments and brilliant furnishings of artisan timber like city places had, but the fishermen’s open hearts were here.’
The perils of not finding a way to reconcile outside influences and change with traditions are ever present in the narrative through the spectre of Aypi, the ‘eternally drowned woman’ condemned to death by the community for accepting a ruby necklace from mysterious visitors who arrived on the shore some 300 years before. Fizzing with generations of injustice and repressed anger, the troubled ghost rampages through the streets, whispering feminist manifestos in the ears of men, challenging adulterers and working out a bitter and increasingly indiscriminate revenge.
At times, events take a decided turn for the weird, shuddering the framework of Welsapar’s carefully created world. In addition, the unusual structure of the book – which depends heavily on long dialogues in which points are rehearsed repeatedly – can take some getting used to. It is as though, bustling into the text from the arena of tax returns, tube delays and Twitter feeds, we must adapt to the pace of village life in order to appreciate the narrative to the full.
All in all, though, the quality of the writing and the poet’s exquisite metaphors, which shimmer through the text like jewels glimpsed through water, keep the pages turning. The novel is a striking parable for the incursion of modern life into the world’s remotest places and the havoc that powerlessness wreaks on people’s sense of themselves. Many of its images will stay with me for a good long while to come. Haunting.
The Tale of Aypi by Ak Welsapar, translated from the Turkmen by WM Coulson (currently seeking an English-language publisher)
October 16, 2012
I emailed a lot of people during the search for this book. Some of the messages bounced. Others disappeared into the ether, never to be seen again. But lots of people did get back to me, usually to tell me one or both of two things: that there was no Kiribatian prose that they could think of and/or that there was someone I should contact at the university/library/community project across the way who might know more.
This impromptu game of e-tag led me through Guam, New Zealand, Kiribati itself, Samoa, Fiji, Hawaii and the States, until at last I emailed Sudesh Mishra, an associate professor in the school of creative and communication arts at Deakin University in Australia. He suggested that I look up Teweiariki Teaero and gave me his email address at the University of the South Pacific. Perhaps the poet would have a prose manuscript I could read.
I dropped Teaero a line. He replied the very next day to say that while no novel, short story collection or memoir by a writer from Kiribati existed, his anthologies On Eitei’s Wings and Waa in Storms contained prose pieces as well as poems. Would I be interested in reading one of those?
Curious to see how this mixing of genres worked, I asked which collection contained the greatest amount of short stories. A few weeks later a copy of Waa in Storms arrived.
Bringing together Teaero’s poetry, prose, drawings and paintings, the anthology comprises work from a particularly dark period in the author’s life, during which his parents fell seriously ill, his youngest daughter was hit by a car, and his home community on the atoll of Tarawa was shaken by a series of vicious child rapes. Melding depictions of particular moments and more general reflections on extreme emotions with anecdotes, satirical sketches and occasional rants about island life, the pieces present a rich and layered picture of Teaero’s year.
The use of language in the book is fascinating. While some pieces, including all the prose work, are written entirely in English, others, such as ‘Te Faika’, mix together verses in the Kiribatese language and verses in English. Yet others are written exclusively in Kiribatese. Teaero explains in his introduction that the reasons for this are tied to his desire ‘to express an idea as vividly as possible… [whether] this comes through the use of English, Kiribatese, visual image or any combination of the three’.
For the author, it seems, the three modes of expression have different strengths when it comes to certain ideas and emotions. Although it’s impossible for an English-language reader like me to tell what the subject matter of most of the Kiribatese work is, a note at the end of ‘E Kaaki Baina Te Ang’ (‘Teaia, Tarawa. 18th August 2000. The day my father passed away’) suggests that some of it at least contains extremely personal reflections on the writer’s emotional and family life, while many of the English pieces are outward-looking, focusing on politics, ecology and the wider community.
The inclusion of background details at the end of most of the pieces adds a fascinating layer of meaning to the collection. While some reveal the inspiration for the work, others such as the note, ‘Composed while sitting on the sand dunes in Sigatoka town. 28th January 2001,’ at the end of ‘Sad Parade’ introduce a powerful sense of immediacy to the act of writing, as though we are reading the story of the composition as much as the pieces themselves. And then there are the quirky observations that raise a smile and introduce a huge amount of warmth into the collection, such as the postscript to ‘Size Unlimited':
‘Suva. 5th December 2000. Composed in the Botanical Gardens of USP. The frogs were very happy, hopping about and croaking joyously every-merry-where! Perhaps they were having an early Christmas party.’
Teaero’s writing seems, for the most part, disarmingly simple. He uses this to great effect in satirical stories such as ‘Merrily Verily Messing with Missing Milkfish’, where the sing-song, childlike tone of the piece is a great tool for sending up corrupt government officials. It can also pay dividends in poems such as ‘Tab-ulous Reunion’ where the almost banal heaping of platitudes on a former teacher builds in a mysteriously moving way. At times, however, the work does feel a little bald, particularly at the end of some of the prose pieces, where Teaero steps out from behind the narrative to appeal for a range of reforms, from equipping the police with breathalyzers and planting more trees at the local hospital to greater transparency in politics, as though he does not trust the story to speak for itself.
But perhaps most interesting of all is the fact that the distinction between poetry and prose in the collection often seems rather meaningless. Several of the poems read as stories, while prose pieces such as ‘Island Time’ and ‘Crowded Buses’ read more as poems that happen to be written in full sentences that stretch across the page. In addition, much of the work incorporates visual aspects, with font sizes and weights and the shape of the poems on the page adding emphasis. Just as outside events and Teaero’s life experiences bleed into and mingle with the works, so the forms mix with and change each other.
The result is a distinctive and memorable collection. Organised into four ‘Waves’, which loosely chart Teaero’s progress through what he calls his ‘annus horribilis‘ in the introduction, the work pulls together to tell a story of suffering and change. It is in many ways every bit as much a narrative as the novels, short story collections and memoirs I’ve read so far this year – and a striking challenge to the system of categorization I’ve used to talk about literature for much of my life.
Waa in Storms by Teweiariki Teaero (Institute of Pacific Studies, University of the South Pacific, 2004)
September 19, 2012
I’ve written before about how globally renowned literary figures from small countries can often overshadow their compatriots on the world stage, becoming the go-to writer for literature from or about their homeland while their peers struggle to achieve any kind of audience beyond the nation’s borders. But what about when you grow up with an international literary giant in your own family?
This was a challenge Vahni Capildeo, a Trinidadian poet with whom I got in touch through the London-based writers group Exiled Writers Ink, had to face. A mine of global literature information, Capildeo kindly gave me loads of book suggestions and contacts for people who might be able to help me track down work from some of the harder to reach places on the list. Then, a few emails into our exchange, she let slip that she had a manuscript of her unpublished memoirs that she could email to me if I was interested.
Normally when a writer suggests I read a book they’ve written, particularly an unpublished book, the alarm bells go off in my head. After all, such recommendations can hardly be considered impartial and, in my experience, there can often be an unfortunate inversely proportional relationship between the enthusiasm with which an author pushes their book at you and the quality of the work.
However, there were a few things that made me hesitate: firstly, Capildeo wasn’t exactly giving me the hard sell. In fact, after the first shy mention it took several months of wheedling and cajoling from me before she could be persuaded to send me the document, out of which she’d excised several sections that she did not think were ready to read. Secondly, Capildeo had published a number of poetry collections and, although the entire memoir had not made it into print, extracts of it had come out in Ian Sinclair’s London: City of Disappearances. And thirdly, there was the fact that she introduced the book by saying that, among other things, it was about ‘the difficulty of being a cousin of VS Naipaul but wanting to write poetry’.
Now that was something I was intrigued to know about. And so, with an apologetic glance at the Naipaul novel waiting above my desk – not to mention the burgeoning list of young Trinidadian writers gaining international recognition thanks to initiatives such as the Bocas Lit Fest – I passed over the great man in favour of his young relative, downloaded Capildeo’s pdf on to my Kindle and began to read.
As it turned out, the Naipaul connection was only a small part of this rich and complex book. Tracing Capildeo’s childhood in Trinidad and migration to the UK in her late teens, the narrative reflects on issues as diverse as the link between creativity and mental illness – Capildeo’s father suffered from schizophrenia – attitudes to homosexuality in the Caribbean and culture shock. There are thought-provoking evocations of both Trinidad, ‘a colonial land of Ozymandias’, and the UK, where the term ‘Western’ has ‘nothing to do with physical geography’ and people marvel at Capildeo’s perfect English, oblivious to the fact that she has spoken the language all her life.
Perhaps unsurprisingly, given her background, Capildeo sees the world through books and it is this that brings out her best writing. Whether she is discussing Michael Bond’s Paddington Bear or Victorian novels, Capildeo can be relied upon to bring fresh and often startling insights to her interpretations, reminding the reader again and again that the secret of great writing and great reading is bound up with recognition. But it is when cultural barriers and laziness stymie this recognition during a discussion of Jean Rhys’s Wide Sargasso Sea in the UK that the full force of Capildeo’s passion for what books can do if only we will take the trouble to let them becomes clear:
‘The other readers thought “flamboyant” was a simple adjective. They did not know, and had not looked up, that it was a tree name. So for them it was just a showy tree that Jean Rhys’s Antoinette wanted to be buried under, this desire perhaps a characteristic manifestation of Creole arrogance and gaudy tropical bad taste? So people could read this passage, even read the whole book, maybe read every book about – us – and not feel, or see – My imagination filled and shook with the flamboyant’s smooth-grained rind and fiery plumage.’
The Naipaul references when they come are disarmingly frank. Capildeo makes no secret of the dislike that exists between the branches of the family and the shadow the writer’s success cast over her father as he reeled from breakdown to breakdown. However, the fact of Naipaul’s international recognition, and his publication of works that ‘looked like real books [...]: austere, with few colours, unlike “West Indian novels” marketed as such’ also proved a secret spur to the young writer: ‘(So it was possible? But I put that thought away; it was too big).’
Inevitably for an unedited manuscript written some years ago at an early stage in Capildeo’s career, the work is somewhat patchy. We get the sense at points of a young author still mapping the geography of her emotions and coming suddenly and breathlessly upon peaks and ravines that she will get the measure of more precisely as her writing develops. In addition, although often vivid, the imagery occasionally staggers under the weight of one too many adjectives.
But this is nothing that a second pass through with the benefit of a few years’ distance can’t fix. And in fact Capildeo tells me she is thinking of doing this, with a view to trying to publish the work. I hope she does: there is too much richness here to be consigned forever to the bottom drawer. The book deserves far more readers than just me.
One Scattered Skeleton by Vahni Capildeo – extracts published in London: City of Disappearances ed. Iain Sinclair (Penguin, 2006)
August 16, 2012
Say the words ‘Kenyan writer’ to most world literature fans and they will come back with one name: Ngũgĩ wa Thiong’o. Imprisoned for speaking out against injustice and corruption, the author of such landmark books as A Grain of Wheat and Wizard of the Crow abandoned English to write in his first language Gikuyu in the late seventies. He is revered around the world for his work and his passionate advocacy and has been given many awards, seven honorary doctorates and held numerous visiting professorships.
It seemed a no-brainer that I would read one of this literary giant’s novels as my Kenyan choice. But then I heard about Philo Ikonya. Arrested repeatedly for her human rights activism and living in exile in Norway since 2009, the poet and novelist is an avid blogger and journalist, as well as a keen linguist. She is also president of PEN Kenya.
Intrigued though I was to read the work of Kenya’s great man of letters, Ikonya and her oddly titled novel Kenya, Will You Marry Me? piqued my interest. I decided to give it a go.
In a nutshell, the novel is a love story. It gives an account of a life-long passion for and relationship with the country Kenya in all its exuberance and raw pain. Growing up in a village near Nairobi, the young narrator uses dolls to act out and embody some of the conflicts she sees around her, while flashes forward and backward in time and stories from other relatives and friends bring home the personal consequences of such traumatic events as the attempted coup of 1982 and the humanitarian crisis in the wake of the rigged election of 2007, as well as the long shadow of colonialism. Hurt but not discouraged by all that she has seen, the young woman transforms herself into the embodiment of Change during the course of the narrative, urging her fellow countrymen and women to get behind her and appealing to the nation she loves to unite itself with her.
Nationhood and what it means to belong to a country bind the narrative like the spine of the book. Frequently speaking about Kenya as a person, the narrator emphasises that ‘history and politics live in homes’, showing how events in parliament pervade even the bed sheets and the cooking pots of the most remote villages. This sense of the interconnectedness of national and domestic events is coupled with a great love and celebration of the beauty of the land and, as the narrator’s grandfather explains, a ‘greater love [which] is to realise that these are only ours for some time and that your children must find them still here’.
As a result of her intense connection with her country, the narrator feels every threat to its wellbeing as a personal attack. This leads to a barrage of righteous anger against the injustice of colonial rule, the heartlessness and corruption of politicians, the cruel rapes suffered by many of the country’s women and children, and the fact that ‘people gifted with melanin continued to be left out of the game’. Often, this takes the form of powerful, rhetorical addresses in which the narrator apostrophises various groups in her effort to galvanise them into positive action, taking in everyone from her dolls and her compatriots, to corrupt politicians and even Western readers:
‘You, most of you, in the West have the comfort of analyzing what you call deception, we are grateful for the small straws of hope we see near us. We cannot afford to shun all.’
Ikonya’s poetic sense comes through strongly in the narrative, adding subtle layers of meaning. Whether she’s playing with rhymes to make deeper points – ‘I have never been able to hear the word “bribe” without seeing “tribe”. Vice like lice lives in families too’ – or stripping back the etymology of place names and sexual terms to reveal the power struggles that lie beneath, she uses words richly, milking them for every last drop of significance.
Readers unfamiliar with Kenyan history and politics, as I was, will sometimes struggle to follow the narrative, which is often essentially a stream of consciousness ‘crisscross[ing] years, beating arrangements in books’. In addition, the novel’s fragmented and free-flowing nature means that there is often very little to drive it forward other than the narrator’s passion. The fingers begin to itch to flick in the last third where earlier polemics on corruption and women’s rights are reprised without much development.
Nevertheless the commitment and fervour of the narrator carry the day. As a portrait of patriotism, this stands in stark contrast to the rather anaemic if not downright cynical expressions of national pride we tend to hear in the UK. It is an urgent reminder of the importance of politics and the influence that individuals can have on events larger than themselves. No wonder the people in power felt threatened.
Kenya, Will You Marry Me? by Philo Ikonya (Langaa Research & Publishing Common Initiative Group, 2011)