#UsWeRead | Reading Lists and Resolutions

It goes without saying that everyone on the Sooo Many Stories team is an avid reader. Here is a little on the books  The Tribe have just completed and some of their reading resolutions for 2018.

Peter Kakoma (Tech Guy)

I have just finished Let’s Tell This Story Properly – An anthology of the commonwealth short story prize, Edited by Ellah Wakatama Allfrey. It is a collection of short stories by different writers from Commonwealth countries. Commonwealth writers, an initiative of the Commonwealth foundation, scoured through thousands of short stories submitted by published and unpublished writers from the 53 countries in the Commonwealth. The best stories were published in this collection. The best story, Let’s Tell This Story Properly, is by our very own Jennifer Nansubuga Makumbi. Yo! Once one gets over the pride that a Ugandan storyteller beat all those entries, one might need some time to recover from the ride it’ll take them on. As if that’s not enough, there are stories from different parts of the world so you get to travel to Singapore, Jamaica, Sri Lanka and so many other places. I love it.

Main thing I’ve learned? I still love reading fiction! For a few years now, I’ve been reading a lot of work-related books and books on spirituality. It was awesome falling in love again with the journey a good fictional story takes me on, re-reading and excitedly sharing phrases and lines that are so strong, you need to first stop and just throw some imaginary hi-fives at the author. Second thing I learned is that for now, I’m a short story reader. They give me, in shots, the joy a good book brings.

Resolution: I miss reading fiction. Let’s Tell This Story properly taught me that I could rediscover the joy fiction brings me while balancing it with all the other books I want to get through by reading short story collections. I’ll read at least two of them this year. I have an expansive list of Christian books lined up. I also have some books on entrepreneurship and one very huge book on software engineering that I’ll go through this year. I’m done with one on entrepreneurship so the year’s off to a strong start.
Dushiime Kaguliro (Reading Nurturer and Events Co-ordinator)
I have just finished reading Stay With Me by Ayòbámi Adébáyò. My word, the book is so deeeep! The characters are incredibly believable. Ayòbámi delves into the issue of infertility here in Africa (Nigeria specifically) and how the burden of childlessness is usually the woman’s to bear. She talks about sex in marriage in a way that most African writers might be shy to.
The love story between the two characters Yejide and Akin is one you root for and wish to succeed (WARNING: do not get attached). You see them struggle to handle societal and familial pressure to have children, all the while trying hard to love through it all. The book brings up a wide range of issues; infidelity, polygamy, mental illness and the pain of dealing with loss, all set in a turbulent time in Nigeria. Adébàyò does a wonderful job in making you empathise with the main character; you just want to reach out and give her a hug. An absolutely beautiful story.
Resolution: to read more books by black writers; Caribbean and African-American specifically.
 
Carol Kagezi (Editorial Assistant)
I recently finished reading Man on Top by Jeremy Byemanzi. I like how raw Byemanzi is when laying out his experiences in life, making it easy for anyone reading to relate to. He is passionate about inspiring and disciplining men but I especially enjoyed how he broke down scripture in the context that we live in today.
Resolution: to finally read all published work by Chimamanda Ngozi Adichie and at least one or two works by West African authors I haven’t encountered before. I am also on a mission to finish three religious books this year.
Esi Nshakira (Online Storyteller)
I have just finished No Place to Call Home by J.J. Bola. Man, this read has been a long time coming. Been needing to read it ever since I met Bola at Writivism 2017.
 It took a while for me to get into but by the time I was halfway through I couldn’t put it down. The story highlights the life of Jean and his family as Congolese refugees in Britain. He does a splendid job of merging the politics of the situation and the everyday stresses faced by any typical family or teenange boy.
The chronology of the story was a little all over the place. There are some events that occured and by the end of the book I wasn’t sure why they did. It seemed like he hinted at the introduction of some themes but did not see them all the way through. (Rape, infidelity and mental illness/suicide to name a few). Overall though it was an enjoyable read. Relatable. Real. It felt like Bola just took a slice out of the lives of all his characters. At the end of the novel I was left wanting the whole cake.
Resolution: to explore more non-fiction stories. I find fiction alot easier to read, for obvious reasons really. Stories from the imagination always seem a lot more fascinating but I want to be able to borrow from the experiences in books that I read and I feel like this is more realistically done with non-fiction books.
Nyana Kakoma (Publishing Director)

I have just finished Year of Yes by Shonda Rhimes. This book reminded me why I fear meeting people that I greatly admire. I always fear that they will not live up to the image that I have painstakingly built up in my head and this book threatened my admiration for Shonda Rhimes. As a huge fan of Shonda Rhimes, her shows have proved to me that she is a great writer. I have watched scenes in Scandal and Grey’s Anatomy and wanted to stand up and applaud the dialogue (I live for those epic monologues in Scandal) written for the characters. And yet, here I was, a little into the first chapters of the book, wondering what I was reading. The sentences are too short and overly repetitive that it made me think of someone who could not articulate their thoughts. It’s cute in the beginning but it starts to be annoying after a while. I mean, how many “I am old”s can one take in a chapter? I would have excused it if she was an actor trying her hand at writing but it’s Shonda Rhimes, queen of Thursday night TV! Why was she writing like this?

I carried on because I love her. I am sure that if it had been another writer, I would have put down the book. I am glad I didn’t because the writing does get better.
Shonda Rhimes writes about the year she gave herself permission to say yes to all the things that scared her; yes to a Jimmy Kimmel interview, yes to giving a commencement speech, yes to acknowledging that she gets a lot done thanks to her incredible nanny, yes to playing with her kids, yes to taking care of her body, yes to compliments, yes to that time she was on The Mindy Project (my poor heart almost crapped her pants when I saw her!), yes, yes, yes!
The book has incredible lessons. I particularly loved the lessons on motherhood as they resonated with so many things I am trying to learn. But what I loved the most, and what you will love, if you’re a fan of any of her shows, are the bits you will be able to place in her different shows. I just kept having, “Oh so this is why she wrote this” moments. Remember that time Cyrus Beene went on Sallie Langston’s show and delivered the mother of all monologues on motherhood? Well, Shonda Rhimes delves into that some more. I also loved how she wrote about Sandra Oh and what Cristina’s character meant to her as a writer. Also, that she uses some phrases from the shows like “feeling like the sun” “dancing it out” and others.
If you are a fan of #TGIT and Shonda Rhimes, you will love this book (and perhaps the beginning won’t bother you as much as it did me). If you don’t know Shonda Rhimes, get it for the lessons.
Resolution: to read more sci-fi, magical realism and afro-futuristic work by Africans and if I can, squeeze in some Black American writers like Octavia Butler. It’s a genre I don’t read and I want to be deliberate about it this year. Also, a member of the tribe has been treating me like I am unworthy because I have not read Harry Potter so I might sneak that in.
What are you currently reading? What does 2018 reading plan look like? Let us know!

The Children’s Writing Workshop | Our Story in Pictures

Last year really was one of growth for us! One of our highlights of the year was the Children’s Writing Workshop we had from the 11th to the 15th of December. The idea is one that had marinated with the team for a while, so to see it come to fruition, see how much our storytellers learned and how much fun they had? It mean’t more than words can say. Literally! So much so, we decided we’d show, instead of tell you, how awesome it was.

HAVEN | To tell beautiful stories it helps to be surrounded by beautiful things.
SCENES | A little of the storyteller starter-pack.
STORYBOARDS | Coach Nyana and Coach Carol had such beautiful samples; Genuis Gaby and Brave Benjamin were not to be outdone!
CREATION | “There is no greater agony than bearing an untold story inside you.” -Maya Angelou
So they let. it. rip.
LUNCH | Our ‘Growing Boys’ Brave Benjamin and Mysterious Muhammed.
CHILL | Afternoon reads in the gorgeous reading nook we had set up.
GAME-TIME | 30 seconds!  Driven Daisy and Daring Dushiime came up with a version of the game specific to Uganda. So interesting seeing the children have to describe ‘rolex’ and ‘boda-boda’. We witnessed such creativity and healthy competition! One of the week’s highlights.
MENTORS | Clockwise: Cathy Kreutter on the writing process, Gloria Kiconco on poetry, Llyod Lutara on film and script writing, Richard Musinguzi on Illustration, Joe Kahiri on song-writing & Anne Kansiime on creation of a consistent character and other aspects of characteriasation. Also one of the week’s highlights!

Anne Kansiime loved the experince so much she put a little highlight reel up on her channel. Check it out here!

RESULTS | The Cassava Bandits are the epitome of standing out! The Cassava song should grace airwaves near you soon!
STORYTELLERS | Ladies and Gentlemen, presenting authors! We cannot wait to publish the minds of these incredible people.
TRIBE | One for the team! Clockwise: Intelligent Ivy, Nice Nyana, Driven Daisy, Curious Carol, Daring Dushiime & Exciting Esther

Don’t let your pre-teen miss out on the next one!

The awesomeness we saw throughout the week in the form of all the children’s stories? You will have to witness yourself; which is why we will be publishing all their stories as an anthology in August this year: children’s stories for children by children. Coming soon to a bookstore near you!

Watch this space for info on any up-coming workshops. We had so much fun and really grew minds, that we know without a doubt there will be another!

All photos by Tweny Moments

Venue: Feza Children’s Centre

We Are Growing! | Volunteer Call

Happy New Year Storylovers!

As Sooo Many Stories we are incredibly excited about all the new things we have in store for you! (WATCH THIS SPACE)
To kick us off, our Children’s Book Club, The Fireplace: Tot Tales is expanding! This haven for our youngest storylovers (4-11 years) has been running in Ntinda and Bugolobi for the past year and a half. Because of your support, this year we get to find more little storylovers in Entebbe and Muyenga! The best part about Tot Tales is we get to meet and work with some amazing people with minds and hearts just like ours. Here are some of their experiences:

Being a part of Sooo Many Stories’ The Fireplace: Tot Tales feels like home right from the start. The team’s jokes and their willingness to make you a part of the fun are a constant reassurance of this. It never matters what group you’re assigned to; four to six, seven to nine, 10 to 12. It doesn’t matter because each of the readers carries with them a love for books that takes you back to your days as a child; were you this lucky? Was someone ever there to introduce you to books? Did you ever have reading buddies? You wonder and realise the answer is mostly no but somehow you made it. You became a book lover because the forms of entertainment then were not so appealing or restricted but you know these children got a different world. A world where there’s so much distraction and a lot to reduce their love for books and because you don’t want to know who they would be if their love for books is not nurtured, you resolve to always show up and help Sooo Many Stories nurture young readers. It already feels like home anyway. – Immaculate

 

My favourite thing about volunteering with Sooo Many Stories is how everyday is a new experience that somehow always manages to flip my understanding of how children’s minds work. Their expressive imaginations as they immerse themselves into a story, as I read it to them. Their expressions as their brains work around the pronunciation of a new word. And then how fluidly they use that very word, three weeks later, like they were born knowing it. Witnessing their growth, is teaching me to understand the patience involved in witnessing my own. – So Severe

 

There is nothing that’s as fulfilling as reading a book. You get to walk in the shoes of the author and recreate the story in your mind. With Sooo Many Stories: Tot Tales I not only get to enjoy this as an individual but I also get to hear and see the children do this. These book clubs create a platform for learning and for creativity. Sooo Many Stories not only ensures that we get to read books, we get to read books with lessons in them. I personally look forward to the book clubs because I get to hear children read and I also get to see their creativity come to play when asked a thing or two about the story.  For any parent or guardian who is wondering if this is worth it, I can assure you it is. We have seen children become better readers, better orators, better individuals. Just better.  – Anne

Of course with this expansion comes the need for us to find more people like Immaculate, So Severe and Anne! Think you fit the bill? Hit us up! See the poster below for details.

Your tribe is calling! Will you answer?

Round-Table: Kyenvu | Kemiyondo Coutinho (Part II)

After watching Kemiyondo Coutinho’s Kyenvu, an in-depth discussion was inevitable. This is Part 2 of our chat. Read Part 1 here.

Let’s talk relatability then. How real was the main theme of rape and female objectification for you?  

Nyana: One of the things Max (who I sat next to) said after, in reference to the rape scene was it’s not unimaginable, it’s not something that seems far-fetched. I felt that level of relatability through the entire film. In the taxi, preparing for a date, walking to a taxi stage and you’re very uncomfortable because of the boda boda guys, it was such a relatable film!

Esi: It was real! That very evening, after watching the film, I left at about 9:30pm. I got off my boda at the trading centre close to home because I wanted airtime. So I’m walking home after and I have to pass these boda guys and their friends, gathered at the roadside bar, drinking and laughing. I look down and walk by really fast, and as I approach home I am shook by how identical that situation was to the one Kemi’s character found herself in. These are things that happen on a daily! I’m forced to feel uncomfortable for no other reason other than that I am a woman.

Dushiime: I’m so sad it’s about rape. There’s this thing that my brother calls after school specials, I hope it’s not like that. His problem with stories that come out of Africa is that they are always after school specials.

Esi: Like ‘Sara’ and what?

Dushiime: Uh huh! About AIDS, about rape, about getting pregnant. Can’t there just be a story in Africa that’s just a story? When I saw the Kyenvu promotion, I thought it was a love story and I was like finally! A story that’s happy.

Nyana: There’s happiness in it, but there’s also a message she wants to put across. There’s a line she says in the film, ‘A wardrobe choice changed my life.’

Esi: She went through several outfits and had even walked out in pants! Then she came back to the mirror and remembered her cute yellow skirt and decided to wear that.

Nyana: And that decision changed her life!

Dushiime: Was that to suggest that if she had worn pants it would not have happened?

Esi: I think she was bringing across the point that men will feel more entitled to your body depending on what you’re wearing.

Nyana: …and also, while she was being raped, the guy said she asked for it; ‘When you dress like a malaya, this is what happens.’

Dushiime: And what about places like Saudi Arabia, where women who are COMPLETELY COVERED UP still get raped?

I remember when the court case involving UCU was happening and my mum said, ‘When you tell a girl not to enter school because her skirt is short and she will distract boys, it means that his education is more important than her’s’. Because as a girl that has to go home and change, I’m missing a lesson. That used to happen in UCU because when you’re 15 minutes late for a lecture, you don’t walk in.

Esi: But don’t you think that there’s a difference between that rule imposed ‘so as not to distract boys’ and the rule imposed for religious purposes? I would understand if UCU implemented the rule because they are a Christian university. That I can’t fault them for.

Dushiime: You see, if the rule was no short skirts, that would be fine. But the rule says, no provocative skirts. What does that mean? What exactly is a provocative skirt? And why is a man the one at the entrance telling me to go back? Why are they being given the opportunity to stare at women in that way, being the one’s to decide if my skirt is ‘provocative’? Why allow him the opportunity to pick me apart in public? And that was one of the biggest issues. At least put female guards, and have them be the one’s to inspect.

Nyana: Men are treated like animals. Like they can’t control themselves. Why aren’t they telling the men to have self-control? Because there will be places where someone will wear a short skirt, a long skirt, whatever length. They should be able to exist in all spaces without this “uncontrollable” urge to rape someone. When I sit in a taxi, my skirt rides up sometimes, as a man seated next to me, will you start losing it? Like you’re crazy? Are you possessed? It’s careless of men to leave their self-control to the hem of a skirt/dress.

Kyenvu depicted the rapists as ‘no good men’. The one’s you would expect to rape in a sense. They were hoodlums. Opinions on this portrayal?

Nyana: I feel like that narrative has tricked us into trusting “good men”.

Dushiime: Thanks for this spoiler because now I know it’s not the guy who vibed her that raped her.

Nyana: No, no. It’s not.

Dushiime: I wish it was imagine? Because of what Nyana has just said.

Nyana: We always think it’s a terrible boda guy who will rape you, the mad man, the village drunkard or maybe an askari. But never your boyfriend, never that cute boy in the bar. That never crosses your mind. I felt that we should have changed that narrative because it has made us trust people we shouldn’t trust.

The film overall would be Rated R. The cussing, Kemi’s naked scene at the end… Do you think this film would be something Ugandans would watch and not criticise?

Esi: I think demographic matters. You can’t show it to my mother’s demo for example, and not expect criticism.

Nyana: Well, I think it might be lost but that’s the risk you take, people who get it will get it. The thing is, I feel like as Ugandans we use morality as a way of not talking about things. So you would rather focus on ‘Oh she was naked, she was wearing a short skirt’ instead of talking about the fact that someone was raped.

Dushiime: I think that begs the question, how do you write things that are not PG13 and have Africans/Ugandans appreciate the art and not quickly become righteous.

Nyana: This is where the role of critics comes in I think. Because you direct the conversation. So if critics come up and say it was a good movie until she undressed then the message gets lost. But if people can sit down and talk about the real issues that happened, then the film can be appreciated for it’s message.

Esi: What are our kids seeing nowadays anyway? If we are being realistic. Even us as adults. We’ll be more comfortable watching things like Power, where it’s real sex really, and we’ll talk about Power as a cool series.

Dushiime: Nanti those things are for bazungu. (laughs) It’s “Un-African”.

Esi: And that’s what I’m saying. That façade needs to drop. People need to stop pretending.

What stayed with you after watching?

Nyana: How she laid herself bare; physically and figuratively. I thought ‘Wow, this person is so committed to her art’. Sometimes people stand in the way of their story. They sanitise it. Think about people who will be watching, and I’m sure she went through that process, because I mean, it’s Uganda. But I really respect her for bringing that rawness. It fed into the story; because when something like that happens to you, you have nothing. They’ve taken one of the most precious things. What’s left to take? So for her to present it like that was perfect.

Dushiime: Wow. I’m thinking of even besides you viewers, how she had the whole production team seeing her this vulnerable.

Nyana: That’s the other thing! The actors too! It also calls for a high level of professionalism. The guy sat with her in the bathroom. If he were trash he’ll be like ‘But I’ve seen you naked before’. It was so multi-faceted for me. She was so honest.

Esi: I talked to my family about the screening omitting the parts I thought would be a lot for them, and my mum said she actually wanted the film, to show to her students (she’s a Sociology lecturer). Like we’ve talked about, I couldn’t help but think though that should she – or any one from her age demographic – watch it, the powerful message of the film will be overridden by the fact that lead character was naked at some point. That is all my mother would see. But I agree with you Nyana. That intensity was powerful. It was realistic. Because rape is not a sanitised experience. It’s raw and vulnerable and she showed us that perfectly.

Nyana: Then there’s a moment just before that when she’s in the bathroom and she’s not talking to the guy, she’s talking to the skirt, “You will be yellow again.” Gosh. I’m tearing up just thinking about it. And then Mo Root’s song at the end. The splattering of blood on the yellow flower just before the credits rolled. It was so powerful.

Dushiime: Gosh, will I survive watching it? I don’t think I want to look like Nyana looks right now. (laughs)

Esi: No but I think it’s important. I feel like sometimes you forget. You get comfortable. And even the recent twitter TL incidents, it shows you how comfortable you get, and you stop expecting danger until you realize how close it is. You stop being aware. Being cautious.

Kyenvu was everything. An absolute must-watch. Thank you, Kemi, it was such an honour to be there. Thank you for inviting us. All the best to you and everyone you worked with!

Check out the official video for Kyenvu’s soundtrack – Yellow Again by Mo Roots – on the Kyenvu Facebook page

Round-Table: Kyenvu | Kemiyondo Coutinho (Part I)

Kyenvu is a short film by actress and writer Kemiyondo Coutinho. We first had a chance to chat about her one woman play Kawuna…You’re it, which you can read about here. Part of the Sooo Many Stories team was invited for a private screening of the much anticipated Kyenvu, a short film by Kemiyondo, and we left feeling a whole katogo of emotions. We were awed, amused and devastated all in one breath. 

First Of all: Major spoilers. If you want to first watch the film and come back to this review, it’s okay. We’ll be here. 

The film documents the experience of a young woman in typical Kampala. It seems to be a love story up until the end when the main character is raped. Nyana Kakoma, Esi Nshakira and Dushiime Kaguliro (who has not watched the film. We just wanted to torture her) sat down to review and discuss the film.

What were your expectations of Kyenvu going in?

Dushiime Kaguliro: First of all, I didn’t know that Kyenvu meant yellow. I though it meant bananas. Ripe ones.

Nyana Kakoma: That’s menvu. (Laughs)

Dushiime Kaguliro: (Laughs) You know when English is your first language, vernacular can play with you. But yes, from the clip Kemi put on Instagram stories I thought it was a love story. After watching Kawuna though, I figured it involved something more serious than ripe bananas.

Esi Nshakira: I heard someone say it’s about miniskirts and the miniskirt ban, so going in I knew that would be the point of discussion. The rape element I didn’t see coming. That was a shock.

Dushiime: Wait, it’s about rape?

Esi: Sorry girl! (laughs) Major spoilers ahead.

Dushiime: What? That was the furthest thing from my mind.

Esi: Right? Because of the way she was promoting it on social, I think. When you see yellow and sunflowers, you think happiness and light, not provoking in anyway. I knew it was about miniskirts but beyond that I had no expectations going in.

Nyana: I got curious about it after Kawuna. ‘If she could do ALL THAT in a play, then the film must be lit’, I thought. I heard about the miniskirt thing, and my fear was that it was a common topic. What angle would she take that would make it surprising, or make you think deeper? She also mentioned during promotion that the film would be 18 minutes, and I thought, you’re going to talk about such a huge topic in 18 minutes? I wanted to see that.

Esi: I was also surprised at the length, because I hadn’t heard anything about it, I thought it would be like a feature film. But it was really impactful for something that was so short.

When it ended, what was the first thought that ran through your mind?

Esi: Will it ever be yellow again? I feel like it ended on such a tragic note. I think a lot of filmmakers use that as a tool, to effectively get their message across. But as she sat trying to wash the blood out of her skirt, I wanted to see that skirt become yellow again. I was heartbroken for her, and I just wanted it to be yellow again. Her skirt, her life, everything.

Nyana: So for me, when it ended, I thought, ‘Thank God it’s a short film’. It was sufficient. Everything that needed to be there was there. No unnecessary elongations. But also, I couldn’t watch that last scene longer than that. I didn’t have enough tears! I was also impressed that all that could be put into such a short amount of time. Because even the vibing scene is not too long; she used a technique of showing us progression through just the gifts the guy keeps giving the female lead’s character, no dialogue. That allowed us to build the story ourselves as opposed to films that completely build it for you. It trusted our ability to be clever enough to follow the story and create it for ourselves.

Esi: I was also really impressed with how much impact it had in such a short time. (Turns to Dushiime) We watched it twice, because some of her actors showed up a little late and they wanted to watch it from the top.

Nyana: But I couldn’t do that last scene twice. When it came on again I got busy finding my phone, looking in my bag…looking at anything but the screen! I just couldn’t do that to myself.

Esi: The second time round, I felt even more emotional. It seemed to hit a lot harder.

Can we talk about the taxi scenes? How authentic they were? That conductor that asked for dollars (as in? For heaven’s sake), the women mocking the female lead, the insults thrown around.

Dushiime: I can identify with the dollar charges! (laughs) There was once I was in a taxi and there was this Asian guy. He asked the conductor how much and then the conductor said eight dollars, and the guy actually pulled out the money. But of course, there are always those women! They shouted at him! ‘You, you’re the reason we don’t get tourists in Uganda!  The reason why we are poor!’

Nyana: I like it when people in the taxi gang up on the conductor for a good cause, but I also like it when they stand up for him. Like you know those passengers who decide to abuse the conductor, for no reason! And then the whole taxi is like, ‘Ah ah! Olimba!’

Dushiime: I so want to be bold enough to be those people! But my set back is I don’t know enough Luganda. But there are always those women, (who make me so proud by the way); a little older and savage with their words. They talk until the conductor fears or gets embarrassed!

Nyana: But eh, the conductors were so good! I thought they had gotten real conductors and yet they were actors! The setting was perfect, the jazz was on point. There was a line that killed me! One of the passengers asked; Tomanyi luzungu? And the conductor said ‘Gwe wansomesa?’

(Laughs)

Esi: The one that killed me was when the conductor asked the girls that had been teasing Kemi’s character, ‘Naye abakazi oba mwabaaki? Bwemusirika, emimwa gibasiiwa?’

(Laughs)

Dushiime: You know someone once said that a taxi ride is one of the best places to get content for a film, because you’ll always find so many interesting types of people!

Photo by Tweny Moments

The taxi scene also explores identity crisis a little bit. Kemi’s character has women mocking her accent, is charged in dollars and yet she identifies as Ugandan. She uses the same mode of transport as any other Ugandan. She’s in a place that should be home, but isn’t. What did you think of the exploration of this theme?

Esi: I related actually. Quite a bit! You know how sometimes you can go on bodas and a boda man will try and tell you it’s 15k, for a place that you know is 5k. And you’ll be wondering, why?

Nyana: I think sometimes it’s the language used. Like when I’m in Nairobi, I make sure I go to Maasai market with a Kenyan. Because then they bargain in Swa and the price actually reduces. And I think that’s everywhere, boda guys are probably easier to bargain with if you speak Luganda.

Dushiime: Shout out to Safe Boda! I’m saved that stress of bargaining. Before Safe Boda though, I was forced to learn Luganda. Enough Luganda to move around and shop downtown. For a long time, my friends would tell me to shut up because of my crappy Luganda.

Esi: And that’s the crisis I identify with. I’m not mixed, but I’ve been raised in a way that makes it hard sometimes for me to identify seamlessly with typical Ugandan culture. And yet I obviously don’t identify as Kenyan, even though Kenya is where I spent my formative years. Malaysia, where I studied is a no, for reasons we’ll get into another time. It doesn’t help that I don’t fluently speak any local language. So where is my space? Do I create one? Are there enough of us to form our own? I don’t know whether there’s an actual solution to this as problem, or even if it’s a valid problem to begin with, but yes. It all crossed my mind.

Dushiime: With the language thing, people will be quick to say why don’t you learn, but it’s hard trying to learn when your efforts are always laughed at. One of the reasons I stopped trying to learn Kinyarwanda is because whenever I’d try my aunties would always make jokes. So I just decided to stop bothering.

I totally get what you’re saying. I didn’t study in Bulaya but I can relate. But I think it’s a good thing in a way, because it forces us to be less Westernised, which is something I hope my children are not. Like for me for example, it forced me to learn Luganda.

Nyana: I think the place to start here would be:who is a Ugandan and whether there  is a need to define that. If you’re saying, if you speak a local language then you’re more Ugandan than someone that doesn’t, how many people are going to be left out? Especially now, when parents are not even teaching their kids the local languages.

Dushiime: And then there are also kids that grow up here in Kampala, in the Central region. An Atukunda who is fluent in Luganda, but take her to Kabale and she can’t speak a word of Rukiga.

Nyana: And in Kabale people will look at her like, ‘What the hell? Where are you from?’

Esi: So as Atukunda, will that take away from her identity as a Mukiga? I think it’s also about self- discovery? You discover for yourself what your identity actually is. It doesn’t have to be spelt out from the beginning. You figure it out as you go along.

Dushiime: Also people can identify as more than just one thing.

What was your most memorable scene?

Nyana: Definitely the taxi. It felt so real! I felt like I could have been in that taxi.

Esi: I really liked the wooing scene. The way he would bring her gifts and she started softening up. I loved the sunflower themed gifts. The entire loop of scenes was adorable. And that was when they played Muliro, which I absolutely love! So yes.

Nyana: I also liked the scene when she was preparing for the date. It felt like something every girl goes through. You go through 20 outfits before you finally choose one, turn all sides in the mirror, arrange your boobs, do a little ka dance before you leave. So relatable!

Dushiime: And then the boy just wakes and smells a shirt and wears and shows up for the date.

(Laughs)

Click here for Part 2

 

#MoreThanABlog: Magunga Williams | The Magunga Bookstore

Magunga Williams, a lawyer by training, saw a lacuna within African literary circles: the lack of availibility of African literature. Already an avid reader and writer/blogger – www.magunga.com which took home the Kenyan Blog of the Year BAKE Award 2017 – Magunga decided the path of law practice was not for him and resolved to fill this lacuna. He started The Magunga Bookstore, specialising in the distribution of African Literature. An icon in contemporary literary circles Magunga and his team ensure that African Literature is open and available not just to Africans, but people the world over. 

A lawyer. The last thing I would have you pegged for. What made you decide to go to law school?
Well, what else was I supposed to do? I passed my national exams but not well enough to go to Med school. Plus anyone who watched The Practice and Boston Legal will surely attest to a longing to practice law at some point.

Why the decision not to practice?
By the time I got to third year, I knew that was one thing I did not want to do for the rest of my life. Practice for me, is good from far but far from good. I had fallen in love with writing and I still romanticised the life of being an artist. If I knew then what I know now, perhaps I would have practiced. Perhaps.

Have you always been a writer?
I guess you can say that. I have been telling stories in written form for as long as I can remember. I did not think much if it then, but now when I look back to my early formative years, I would say I have always been a writer.

What was your family’s reception when it came to your decision not to practice?
Let’s just say I had to move out of my mother’s house and we did not speak for four months.

From your years as a freelance writer what advice would you give to aspiring writers?
Do not do it for the money.

What have you learnt about writing from running a blog?
That everything is a story. The number of times I have spun a story out of something so small, is countless. Readers expect a story, so if you have to pull it out of your ass, go ahead. Blogging is like riding a bicycle; the moment you stop is the moment you fall.

How can one make their voice heard as a blogger today?
Blogging is in itself a way in which people get their voices heard.

What birthed the idea of starting a bookstore?
My girlfriend had a poetry book that a number of bookshops refused to stock for many ridiculous reasons. One said people do not buy poetry. Another said he cannot stock self-published books. Another said they will only stock if people ask for it. So I said f*ck it, let me start my store and sell her book.

Where do the books come in from?
Publishers and self-published authors.

Has selling books taught you anything about writing/being an author?
Many things. That people like reading but very few have access to the books they would like to read. That pricing of books is a huge problem because of this same problem with access. That not many people can make a good living from purely being an author – you need to supplement it with talks, newspaper columns, and other side gigs. That the scourge of piracy is royally understated.

What do you think authors, publishers and bookstore owners can do to make books more accessible in Africa?
Wow. This conversation requires days upon days of brainstorming. But at the end of it I am sure that one thing we need to improve is how we market our books to audiences. Books are products just like any other, yet we imagine that after production and one or two newspaper reviews, then the whole world will come to its knees begging to read them. Nope. Sell the book and the author. And one effective marketing tool I have seen work is social media. I know that is a general answer, but like I said, it will require a serious brainstorm.

Where do you see yourself and the bookstore in five years?
Believe it or not my initial dream was never to start a bookstore, but rather a library. A repository of books that doubles up as this really cool place where lovers of the written word can congregate and interact and have a kick-ass time. That is the dream I am chasing. But now with the modification of a bookstore segment of the same.

I am new to African Literature and I can only buy three books. Which three books would you advise me to start with and why?

  • Half of a Yellow Sun by Chimamanda Ngozi Adichie
  • Season of Crimson Blossoms by Abubakar Ibrahim Adam
  • Born a Crime by Trevor Noah

There are very few books that have stayed with me the way these three books have. They give me feels reading through them. They are true and raw in ways many books are not.

Thank you for your time Magunga! And for what you are doing for African Literature.

#MoreThanABlog is a series we are running, highlighting all the incredible people in our blogging community that are going the extra mile and doing more than blogging. ‘The extra mile’ could be in direct line with their blog and that content or within a completly different sector. We are just looking to celebrate all the bloggers doing more and inspire evry writer out there to find ways in which they can do more than blog. If you think you fit the bill or  know anyone that would, get in touch at esther@somanystories.ug.

 

#AmateurNight: King of Kings | Daniel Nuwamanya

The places in which I dwell are still far from yours…

In the empires in which I fight and reign Death was already conquered, Time already overrun…

I feel for your age.

I will always feel for your age.

Grant me this moment dear reader. For I want to share it with you. Let me tell you of a story. A story you might have heard, but never in my own voice. I remember this story well. How could I not? It is the tale of my great faith and desperation, the moment of my ultimate making.

Let me start In the Beginning.

I was called forth in my beginning, and disembarked from the Light, as all souls do, and for purposes of my training was sent out into the universe. The spirit that I bore was that of a Master. So master I did. On different planets, in different forms, in lifetimes both long and lifetimes fleeting I lived and grew, swelling in understanding. Warrior, teacher, father and even king did I eventually prove to be over the course of the countless reincarnations in which I sought the most elusive quarry that any soul in Creation can seek – It’s true nature.

The Light works in mysterious ways and despite the glory to which I continuously returned, the nature of my ultimate destiny was hidden to me. Little could I have ever dreamt that it would be upon that small blue jewel in space upon which you dwell that I would master my final lesson; ironically enough, by relinquishing all I had for the sakes of those who couldn’t help it that that they hated me.

All the cosmos have since been opened to me dear reader, but there is no spot that I love the way I love that small blue planet spinning merrily round its strangely yellow star – swarming with its turbulent but impassioned species.  As the cosmos treasure a new-born star, so have I likewise I treasured the memory of my final triumph.

Understand dear reader; that for one score and thirteen of your earth years, I too watched the yellow sun blaze its way across the blue firmament. I too thought it glorious. I too thought it a majesty like no other. I too studied its impressions and collected the teachings hidden in its grand arcs and movements. I too under the great sages and teachers of my age studied as you now study. In our days Great Kemt (you call it Aegypt), India and Tibet were the centres of divine power and knowledge. Their glory is forgotten in your age of course.  Their majesty now is nothing more than a distant echo in the memories that carry on the wind. It is the way of mortal life, that the future must hold more value than the past. Remember, I was mortal once too. And even then I understood that this must be so.

My story was meant to end where yours starts. Mine started three years before the hour of unknown reckoning. I was completing my instruction – and also, coming to terms with the path upon which my destiny was thrusting me. It was not easy. Being of an energy divine, possessing a mind most agile and equipped with the talent to cultivate any skill to a degree of life giving (also life taking) perfection; I had never lost, not in 143,999 lifetimes. 40 days and nights I spent in the caves and mountains battling with the Iron God, demanding understanding. Why this end? Why betray the excellence of my soul? I wanted nothing of grandeur if it was mixed with fear, nothing of triumph if it was frustrated by pain.

All my assaults were rejected. And from those lofty heights I departed to Israel, the land of Abraham, Isaac and Jacob, my forefathers. For I now knew who it was I obeyed; YHWH, El Shaddai, the Lord and all His Hosts. No strength of mine would be sufficient to attain the fruition of this noble but cheerless end. I had to keep faith.

To my mastery of all things, I therefore added also mastery of faith. Faithful I became, and faithful I remained, till my hour of reckoning when I snatched away the mask that Death created and revealed the true Face of God.

To a lineage of 143,999 lifetimes, I had added the 144,000th. And to the names I had earned in my soul’s journey; warrior, teacher, healer, maestro or king I had earned another that was mightier than them all.

“He treads the winepress of the fury of the wrath of God Almighty. On his robe and on his thigh he has this name written – king of kings and lord of lords.”

And the government of Heaven rested upon my shoulders.

The story of my quest you already know, for that too has since been written. If you do not know it, know this much at least, that I finished it.

Prince of Peace they crowned me. Conquering Lion, of the Priestly Order of Melchizedek . They await me still to redeem my Word- to bring them home so that where I am, they can be also.

And though the places in which I dwell are still far from them, though Time still haunts and Death still holds dominion – they know I will never betray them; neither shall I forsake them, for they have kept the faith, which is the true Kings of Kings. Surely, I shall be with them always, now and till the End of Days, when they shall look up toward the sky – and see all of my glory reflected in their eyes.

Daniel Nuwamanya is a freelance writer, editor and spoken word artist. He has been published in The East African. Some of his short stories include Pusher, Dying to Live – A tribute to Tupac Shakur, The Vanity MirrorThe Ritual. He is currently working on his first full novel.

#AmateurNight stories  were submitted by writers during our previous #MEiREAD Amateur Nights. During Amateur Night, writers share unpublished work and receive feedback from member of the book club. Tell us what your thoughts are in the comments section.

#MoreThanABlog: Ian ‘Sketch’ Arunga

Ian ‘Sketch’ Arunga is a writer, illustrator, graphics designer, blogger, recently established business man and self-professed ‘cool guy’. His blog Dear Doris, that consists of hilarious letters from him to his plus size love, was nominated for the Kenyan Blog Awards 2014 and 2015. He has written and illustrated three children’s books and co-founded Dapper Monkey, a Kenyan men’s apparel brand.  I had the chance to sit down and have a chat (and a laugh) with him.

How would you define yourself professionally?

I do so many things. (Laughs) For my 9-5, I am an art director at an advertising firm called Foote, Cone and Belding, East Africa. That’s my salaried job, the reason I wake up in the morning. Apart from that, I founded and run Dapper Monkey, which is a men’s apparel store. I am a blogger at DearDoris.com. I am a children’s book author. I am also just a cool guy, which is a full-time job and not the easiest. (Laughs).

I love your blog, Dear Doris. It’s hilarious! When did you start it?

It’s been either five or six years. I don’t keep track, because I think it thrives on me not taking it seriously. Mostly it’s just “Oh! Something cool just happened, let me write that down.”

What was your inspiration? How did the blog start?

The entire blog started by mistake! So, before blogging was a big deal, we had this thing called Typepad (Similar to today’s WordPress and Blogger). It was a small platform that you could blog on but I didn’t know it was called blogging. I got on it because I used to keep diaries and write a lot and people kept telling me there’s this platform you could write on on the internet, it has a username and password, everything is safe! So I used to write all my personal things! As in ‘dear diary’ style. Until, someone from Google called and said, ‘Is this Ian Arunga?’ I say yes. ‘Are you the one that authors Diary of a Sketch?’ I say yes, why? ‘We’ve noticed your blog is getting a lot of hits in your region and we were wondering if you would like to advertise on it.’ I say ahem, which blog?! In my head, because there was a password and a username, I was the only one who had access! I had no idea the world was reading it. And it was getting about 2,000 hits a day! At that time that was a lot, and to think that all these people were reading about my private life every day? I deleted it immediately! But then, it hit me that people really like reading about other people’s personal lives. Imagine you stumbled upon your small sister’s diary in the house, you’d be thinking ‘what is inside there?’. So that’s how I started Dear Doris. Basically, they are letters to this big girl – because you know me with big girls (laughs) – about my life.

From the way you write, Dear Doris is a casual blog. Very chill. So how often do you post?

Like I said, Dear Doris thrives on me not giving a sh*t. A lot of bloggers tend to be ritualistic. Like ‘Every Tuesday 4:00am a post must go up.’ I don’t do that. What I do is when I have a story, I write it. When I started Dear Doris I would write twice a week, which was a lot. It dropped to once a week, then twice a month. Now I write whenever I have a story. Now if you check my last ten posts, they span over about two weeks.
Even looking at how I write, I don’t go through my work. I write it and publish right after. I’ve never read any of my posts over again and there’s about 260 posts.

Yes! I’ve noticed that. At some point it seems intentional actually. Like some sort of writing style?

Yes! It is sometimes. Because all your life you are taught your grammar needs to be spot on and all this, but in essence you’re more comfortable just doing your first draft. That’s your most comfortable. Your truest voice.
Sometimes I even go back and add deliberate mistakes. I add something and go ‘yes, this will annoy someone’. And I actually get a lot of hate mail! (Laughs) Some people beg me to stop writing if I won’t correct my grammar.

Backtracking a little bit, you’re doing so many different things. What did you major in at university?

I did business actually, at the Kenya Institute of Management. I joined StoryMoja immediately after that as an illustrator, illustrating kids’ books. A little after I joined, my immediate boss, who was the only graphics designer at that time, had to leave and the next day I was told, I was the new graphics designer. And I remember for the next four days, I spent nights at the office just learning the very basics of graphic design. What is photoshop, what is illustrator, all these things. And that’s how I got into design.

How long has Dapper Monkey been in existence?

Since September 2016. September 12th 2017 was  our first anniversary.

The business aspect of your career must come in especially handy with Dapper Monkey.

Oh it does. Absolutely. Because for Dapper Monkey, I do almost everything. I do the accounting sometimes, the web design, I’m my own model, I used to do the photography until it hit me that I needed to work with an expert.

So is it just you at the offices? Or do you have a team?

I have a team actually. At Dapper Monkey it’s myself and my partner, Cheryl, we run the company together. Then under that there is the logistics guy who makes sure all the orders come in, and they are properly packaged. There’s a team of delivery guys, about four, and there’s an accountant.

What was the inspiration? Have you always been into fashion?

My mother was a fashion designer and a tailor so she used to design our clothes. Growing up, all the kids in our estate used to have the new ‘Hakuna Matata’ t-shirts and new shorts with belts and all. We didn’t have that. My mother made us everything we wore. Even our sports shorts. You know how you go to school and everyone has stripes on their shorts? Cue us with our ankara. Aki, all my school pictures, I’m in Ankara or cheetah print.
So that influenced a lot of that aspect of me, because I was surrounded by fashion as I grew up. My sister as well – she was a fashion blogger when she was in the states. She had a blog that focused on looking for cool clothes for cheap. It got to a point where a lot of people were asking me, where did you get your shirt? Your shoes? Your bag? And I thought, if I could sell a shirt for every time I was asked where I got mine, or a pair of shoes or a hat, I would actually make a lot of money! That’s what birthed the idea. So it started with me buying a few of whatever I liked, so that if anyone asked me I could hook them up right away.
Dapper Monkey actually consists of everything I can wear. In fact I think I own a piece of everything I sell, which is a terrible way of doing business because I keep picking things from the stock (laughs) but I buy what I like because I feel that’s what people like about it.

Where do you get your supply from?

We’ve started doing a lot here in Kenya. So we make all our leather products here; our belts, our bags, our wallets. Our Ankara products are also made here: ties and bow ties. Things like socks which we can’t get done here – which is so sad – we get from our partners in England. And our wooden sunglasses are designed here but made in Korea. And the cases are made in Japan. So everywhere really.

Dapper Monkey has been in existence for a year. How’s it doing as a brand?

It’s doing well. You can tell there’s progress because I get a lot of phone calls when I’m at work. I’m in a meeting and then the Dapper Monkey phone keeps buzzing and everyone is like, ‘Si you just quit your job and go?’
It humbles my heart that it’s gotten to a place where people don’t just come to buy stuff, but come to ask me to style them. Like last night, I met this guy at the club who I dressed for his wedding and because we have a lot of orders and a lot of weddings I didn’t remember him at first. Then he showed me pictures and everything and it started to come back. We actually spoke for a really long time before he decided what he wanted to wear. And just being part of that process, for someone to trust you with such a big part of their big day is pretty humbling.
I’d prefer it by far to be paid to actually tell you what to wear, than to sell it.

Would you think about actually leaving your job and sticking to just Dapper Monkey and your writing?

I’ve thought about it a lot actually. Then I think about salary and how much I need it. Because the company is still quite young, a lot of my income actually goes into it. In order to sell, you need to stock and the thing with fashion is, it’s not like mugs for example, that you can buy 50,000 of the exact same product and just keep selling. With clothes, you have to stock different sizes, colours, types. For one product, by the time you have a complete set, it is so expensive. One shirt will need to come in small, medium, large, extra large. Then in black, grey and red. Man! You need the money.

Would you ever think about linking the blog and brand (Dapper Monkey) somehow?

This has crossed my mind before, but they are so different, that linking them, I feel, wouldn’t make sense. Because when I write to Doris, I write as this desperate guy who is so sad, like ‘I’ve not seen you for such a long time, why are you doing this to me, I love you so much, please come back.’ But Dapper monkey is this confident guy; looks good and has done well for himself. It’s two totally different people, so for them to mix, one of them would have to lose a bit of who they are and what they stand for. There’s a Dapper Monkey ad on the Dear Doris blog actually, and as a poster you can just see, it’s not supposed to be there. Because there’s this guy who’s suave and confident, amongst all these letters from this guy just weeping.

Thank you so much your time Ian! We wish you all the best in future endeavours.

#MoreThanABlog is a series we are running, highlighting all the incredible people in our blogging community that are going the extra mile and doing more than blogging. ‘The extra mile’ could be in direct line with their blog and that content or within a completly different sector. We are just looking to celebrate all the bloggers doing more and inspire evry writer out there to find ways in which they can do more than blog. If you think you fit the bill or  know anyone that would, get in touch at esther@somanystories.ug.

 

 

 

 

#MoreThanABlog: Abigail Arunga

Abigail Arunga is a freelance writer by profession, she has self-published two poetry collections (Akello and A Side of Raunch), is a regular columnist in Kenya’s Daily Nation, co-hosts a Youtube talk-show with Onyango Ayany – Y DoWeDoIt – and manages The Magunga Bookstore together with Magunga Williams. And oh yes! And she is the vibrant mind behind akello.co.ke, her personal blog and the reason for her feature on our #MoreThanABlog series. We managed to catch up with Abigail and discuss her position on self-publishing, her Youtube show and lot’s more.

When did you realise writing was big part of who you are?
At like five, to be honest. I was always a pretty artistic child. I liked it all – writing, reading, consuming art, producing art. Painting. Papier-mâché. Dance. You name it. I got worse at everything else, and better at writing.

You have self-published two books. Why the decision to self-publish?
Because publishing houses in Kenya can tell you a lot of bullshit about why or why not they will or will not publish your book. I was told so many silly reasons, and so I decided, ‘I don’t actually need this. I can actually…just…print it myself.’ It helped that my cousin had years of experience in publishing, so he did everything I couldn’t do. His name is Ian, he’s a stellar graphic designer with his own firm. He’s designed both my books. So, silly reasons like – no one reads poetry. Or, you have to perform so people know you so people buy your book; my first book sold out and I suck at performance, but I am kind of trying to work on that. Or, we’ll give you three per cent of your earnings. Ha! No, sir!

There’s a thread I read recently on self-publishing and it’s place in literary circles here: El Nathan John on Self-publishing | A twitter thread 

What is your response to people that rank self-published books lower than traditionally published ones?
First of all Elnathan is hilarious, and second, I wouldn’t have it any other way. I understand the stigma of traditional publishers. I get that you feel recognised and appreciated when someone (other than yourself and your friends) think that you can write. But in Kenya, I don’t think the majority of publishing houses are at the point where being picked by them means you’re actually a good writer. They still tell you nonsense like ‘you have to have a moral in your story.’ Does that sound like someone who is interested in the next great African novel? Of course not. They tell you we will edit the book. They do nothing except make it grossly commercial. They say, we’ll advertise and give you publicity. Meaning a small post, once, on their Facebook. It’s ridiculous. They’re actually not doing anything, and don’t particularly care for you if you aren’t writing a textbook. So, no thank you. And as for looking down on the others – that makes no sense. I’ve read equally terrible traditional and self-published books. If you’re looking down on me, at least do it with a magnum opus that isn’t hiding behind a publisher’s skirts of mediocrity.

Abigail’s Poetry Collections: Akello and A Side of Raunch

After self-publishing twice, would you consider traditional publishing?
Maybe. If the deal was sweet enough. But what deal is sweeter than me keeping 100 per cent of my profits? It’s a pretty hard sell. I would consider it. Why, are you guys offering? Heh heh.

Haha! For you? We might consider breaking our ‘Ugandan authors only’ rule.
A Side of Raunch is quite…raunchy. What made you decide to venture into erotica, given the conservative mindset we still seem to be fighting in a lot of African countries?

Rrrrrrrrr. Errrrrotica. I like sex. Not even in the way that everyone immediately thinks of (pornos, or scenes from The Bold and The Beautiful that your parents switch off immediately as soon as Brooke gets that look in her eye) but on an even wider scope. It’s a natural thing to talk about. Everyone’s thinking about it already. What to do. When to do it. Whether to not. How to hide it from your mother. What contraception to use. How guilty you feel in church. Historic contexts of how Africans think about sex and the fact that it really wasn’t that big of a sanctimonious brouhaha before the Christians got to us. What that feeling means and why the word slut is still existent in the English language. It’s an interesting topic. It’s a natural topic. For me, anyway. I didn’t really have to think about it, because talking about sex comes pretty naturally to me. Please don’t tell my mother. (She tried to read the first book. She really did. I haven’t shown her the second one. I want to stay alive.)

What has been the reception of A Side of Raunch? Particularly here in Africa.
So the upside of self publishing is that you get to do and keep everything for yourself. The downside is, you get to do and keep everything for yourself. You’re the one finding the editor. You’re the one negotiating prices. You’re the one going round to bookstores begging them to stock you (and in some cases, this results in the founding of your own bookstore instead because bureaucracy is an incredibly boring minefield). And you’re the one marketing. Distributing. Advertising. Forcing your entire family to buy two copies. It can be quite exhausting. So for the first book, I did all of that for two and a half years straight – which is how long it took me to sell out. With my second book, I was like, ah, f**k it. I’m tired. If it sells, it sells. If it doesn’t – for me the point was to put it out. The money is always nice, but with the second book, it was secondary to the art. The next one, though, I want money!

So that is a roundabout way of saying I don’t actually know how many books I’ve sold, with the second book. I check every six months though in case someone is supposed to pay me, heh heh. So perhaps…100? Maybe less? Lol, ok, at least 50.

Do you see yourself writing anything besides poetry and journalistic articles? A book perhaps?
A book might be fun. No, I’m lying. A book might be torturous. Writing is torturous, so I don’t see why a book would be any different. I am trying, to, however. You must buy it.

What kind of book are you thinking of?
Something lovey dovey with a bit of sex in it, obviously, heh heh. If it isn’t broken, don’t fix it.

As a reader, what makes you committed to reading a particular blog?

Content and layout. I hate bad looking layouts that look like the logo was created on Word Art circa 1995. Ugh. Bad grammar is a turn off. Lack of knowledge is a turn off. Basically the same things that keep me reading books.

What advice would you give to someone starting a blog? How do you get your voice heard?
Be consistent and get an editor, perhaps a stalker who’s  grammar Nazi to read through your posts so that they’re actually good. Advertise. Force people to read it and then after a bit they’ll be reading anyway. That’s how I got my first job. I know it looks like I force people to do a lot of things for me – design my books, buy my books, read my blog. I wish it wasn’t true, but apparently this is who I am as a person. LOL.

What inspired your YouTube show Y DoWeDoIt?
Wow. I love my co-host Onyi. We always have great conversation and I don’t know if you’ve noticed but he’s hilarious. We’ve always lived quite close to each other and went to the same uni, which is where our rapport was created. So one day we were sitting in the house, and he had a camera, and I had an idea, and so we shot our first episode. We wanted to be unfiltered, which again, traditional methods wouldn’t let us do (I cuss a little), and they wouldn’t let us talk about things we wanted to talk about, like consent, and #MenAreTrash, and sex myths, and How to Cope With Grief, and Why Morning Breath is a true sign of love, and boarding schools, and mental health, and so on, and so forth…

What are you looking to achieve from the show?
Openness. Discussion. A few laughs. A sponsor. I kid! I’m not kidding. Give us money.

Is TV and show hosting something you’d like to pursue?
Oof. No. Sounds like pressure. They have to put on make-up (which I never do) and think about their wardrobes (which I rarely do) and have nice hair (which I couldn’t care for) and be politically correct (a laborious task) and be judged by millions of people. It sounds hard.

Dinner for five. Who’s on your table?
You know, had you asked me this like f years ago, one of these people would have been Bill Cosby. Sigh. I’ve always loved his shows, and the shows he span from The Cosby Show like A Different World, but…now I just can’t do it. It’s so sad that his legacy is now so deeply tainted. I also would have said Michael Jackson, but I don’t think I would be able to handle that. You know how you can’t meet your idols because it might ruin it? I don’t want meeting MJ to ruin MJ for me. I still cry when I read a really good think-piece about him or listen to like three songs in a row. I don’t think I could handle him in person. Another person I would have said was Roald Dahl, but again with heroes and meeting them…you see, he was a Nazi supporter and actually, from all accounts, a bit nasty, so who would want to have dinner with him? Ok so now I have no idea. So, perhaps Jesus, because I feel like everyone got him wrong and humans are just being petty about what he actually said.  I should have probably started thinking about this earlier. Ask me after my next book comes out!

Thank you so much for taking the time Abigail! Continue to inspire. 

Get a copy of Akello and A Side of Raunch from Turn The Page in Kampala and The Magunga Bookstore in Nairobi

#MoreThanABlog is a series we are running, highlighting all the incredible people in our blogging community that are going the extra mile and doing more than blogging. ‘The extra mile’ could be in direct line with their blog and that content or within a completly different sector. We are just looking to celebrate all the bloggers doing more and inspire every writer out there to find ways in which they can do more than blog. If you think you fit the bill or know anyone that would, get in touch at esther@somanystories.ug.

#AmateurNight: Musezi | Acan Innocent Immaculate

They say when a rich man dies, the whole village shall feast. Ian Sentamu was no exception to this rule. He’d amassed enough wealth over the course of four decades to afford the very best in funeral arrangements. His grave was lined with porcelain tiles – no common man’s contact with the earth for him. The coffin in which he lay wearing a pristine six-thousand-dollar suit was glass and gold. It’s lid was remote-controlled, so that his loved ones and admirers could look directly at his face until the minute the coffin hit the grave’s bottom.

His two widows stood on the right side of the grave, one as plump and orange as ripe pumpkin, the other campus-figure slender. They both wore black veils with tiny diamonds, and their black mourning gowns were the best of Misery Couture. The handkerchiefs into which they wept delicate classy tears had cost enough to buy a small shop.

Ian’s six children – four for the pumpkin and two for the campus figure – stood on the other side of the grave in a semi-circle of linked arms and shoulders. If he’d been alive to see it, he’d have been proud. His belligerent selfish children, a cohesive unit for once, even in the poisonous presence of their mothers. But he was dead. And his rich friends were already eyeing Campus Figure, even as they threw fresh-smelling bundles of cash into his grave. No one would try Pumpkin because she was too much work; everyone knew she was a rabid dog. Campus Figure, on the other hand, was docile as long as you had the bank account balance and bedroom stamina to back up your advances. Before his body was cold in his grave, she would probably have a new sponsor.

Juma and his boys had come to the big man’s funeral for the food. They’d made it their modus operandi a few years back – show up at a rich person’s funeral as professional mourners and wail for their supper. Rakai was home to so many affluent people that not once had they gone without a funeral meal for more than two months.

Juma had come for the food but, now, the alluring scent of matooke and chicken had been superseded by the alluring scent of new shilling notes. They fell, from the smooth hands of men who had forgotten what if felt like to struggle for a living, into the grave of a man who would have no use for them in the land of the dead.

These rich people, Juma thought. “They were money-mad. No wonder they died of strange rich people diseases. Simanya cancer, simanya diabetes, simanya pressure. Rubbish. Here in the village, if a child survived every bout of malaria that attacked him until he reached adulthood, he would probably live until he was ninety-nine. That was if he didn’t get hacked down by the iron bar thieves who’d been terrorising the district… or shot down by a drunk policeman… or knocked dead by a boda boda… or bewitched by an angry neighbour.

“That’s a waste of good money,” Juma said. The boys mumbled their agreement. They weren’t as ambitious as him, not nearly as smart. For them, the free food was their only incentive for screaming like women in labour at the burials of people whose names they didn’t know. If the food didn’t come, they would do some menial chores around the town and eat the produce from their gardens at home. This whole funeral-crashing business was no big deal. Which was why almost all of them sucked in horrified gasps of varying timbres when Juma said, “We should come back for it at night.”

Was he mad? It was a collective thought in the boys’ minds. The graves of rich men always had privately paid policemen guarding them for the first few days or so. Against thieves who wanted to strike while the concrete was still wet and vandalise the holy holes. Coffins, tiles, metal bars, dead men’s clothes – they were all fair prey to these godless thieves. And Juma wanted to become one of them? Sacrilege!

“What if you get shot?” one boy asked. It would be terribly embarrassing for Juma’s family if he got killed while attempting to rob a dead man. Even worse if he survived. After all, who would keep a known grave-robber inside their house? Not someone who wasn’t a witch or a grave-robber themselves!

“Don’t be stupid, also you,” Juma said. “There will only be two policemen and ten of us. We can scare them off if we borrow Okello’s gun.”

The boys really weren’t as smart and ambitious as Juma. They couldn’t think of what they could do with all the money that was going to be buried with Ian Sentamu. Thirteen million shillings, according to the pompous announcements of his rich friends. Juma’s mind was already racing with the seemingly endless possibilities that money presented. A boda boda, or a second-hand taxi – anything to get him out of the backward district that wasn’t deserving of his common sense. He would go to Kampala and open up a small kiosk. The kiosk would develop into a shop, then a supermarket, then a group of supermarkets across the country, like Capital Shoppers!

But the boys – all they were thinking of was how plump the chicken that had been brought for the funeral had looked. And how they would miss all the best pieces if they kept listening to the nonsense spilling from Juma’s mouth. In the end, the desire for umami won. Juma followed the boys to the large tent serving as a kitchen, but half his mind remained in that beautiful grave with the money that had been cemented.

Juma managed to convince two of his boys to go with to the grave the next night. They were the least stupid of the bunch, in his opinion, but also the greediest. He’d haggled with them for nearly an hour over what their cut would be. Both of them had failed to see how it was fair that he got nine million while they settled for four million between them.

They didn’t understand, of course, that his dreams were much grander than theirs. That was assuming they had any dreams. All the boys seemed to want to do was eat and procreate. Such basic needs, terribly revolting to Juma.

Eventually, they’d settled on five million for themselves and eight million for Juma. A crime against his genius, obviously, but what could be done? A grave had to be robbed, and he couldn’t do it alone.

They found the single-plot graveyard empty. A metallic mug lay on its side on the ground, its white contents still bleeding out into the soil. The crescent moon in the sky was the only watchman present.

One would suppose that this would arouse the suspicion of the three men who’d come expecting to square off against three policemen. But Juma’s genius was a flawed kind of genius. It believed that it had always been destined to win and saw the current situation as another step up the ladder to greatness.

“They’re probably drunk somewhere in town,” he announced, walking into the graveyard like a victor claiming his conquest. “Let’s get the money and go quickly.”

He started to dig at one end and instructed the two boys to dig at the other. But, after just a few wet smashes against the still-drying concrete, one of the boys tossed his hoe to the ground and jumped back with a shout. Juma moved to where both of them now stood and looked at the neat little hole in the side of the grave. Someone had been here before them. How unfortunate. But he could still smell the new money inside. Maybe it wouldn’t buy him a second-hand taxi, but it was worth digging for.

“Let’s continue digging,” he said, but one of the boys put his index finger to his own temple and spat, “Are you mad? This hole was made by a musezi! It will definitely come back for the body if it didn’t finish taking it.”

“I don’t want to be here when that happens!” the second boy said, making a hand-washing motion. As if to emphasise his words, something rustled in the bushes surrounding the graveyard. The two boys shot off at the speed of a cock meant for lunch on Christmas day.

“Cowards!” Juma yelled after them, but the power behind his words was foiled by his panting breaths as he too ran after the boys from the graveyard. It was only common sense; no one wanted to be there when a musezi came.

On the fringes of Rakai town, there lived a family that no one visited, talked to, or invited for meals. It was rumoured that this family of a grandfather, a man, his wife, and their two children were night dancers. They’d never come forth to deny these accusations. Their most compelling reason for not denying the allegations was probably the fact that they were… well, they were night dancers. Full-blown basezi; the kind town kids heard about in primary school horror stories, the kind who ate dead bodies (sometimes causing the deaths, most times simply happening upon a poorly guarded fresh grave), the kind you guarded against by putting razorblades on your door so that when they came to smear their faeces on it, their buttocks would get cut.

On the morning after Juma’s ill-fated attempt at robbing a dead man blind, the family sat in their main hut, their numbers down by one. The grandfather had been shot the previous night by one of the policemen guarding the rich man’s grave. He’d succumbed to the gunshot wounds in the early hours of the morning. Like any self-respecting family of basezi, they’d traded his body for an arm and a leg from another family who’d discovered the culinary delights of human flesh; a good musezi never ate one of his own. Just an arm and a leg, enough to cook a day’s meals, because the grandfather had been bones and skin, very little fat.

“We need to replace Jajja,” the mother said. The father groaned. He’d married a stupid woman. Why else would she feel the need to announce something so obvious?

“I can go into town and ask if any of the young men want to join,” the son said. Ah, the stupidity had been passed down by the mother.

“First, we must go back to that grave and get our meal for the next week,” the father said. Just thinking about it made his mouth water. This corpse was a juicy one, fat with too many sugars. If they weren’t wasteful, they could even spread it out over two weeks. He would go and get it tonight.

Juma returned for his graveyard heist alone. The two boys had been vehement in their refusal to go back with him. Basezi were one topic about which they were smarter than he was, you see. Obusezi was a curse, passed down through generations and close contact with a night dancer on the nights when they were out dancing. They didn’t want to risk their sanity that way.

Juma, village genius and professional mourner, simply refused to believe that any human being would eat another for a reason as fantastical as a curse. He was scoffing as he tried to make the neat little hole in the side of the grave bigger when he heard the song.

“Muvubuka, muvubuka. Duka nyo nga bwosobola. Bwenakukwatta, ogenda kudukira mirembe ne mirembe.”

Young man, young man. Run as fast as you can. If I catch you, you will run forever and ever.

Juma stood upright and stared at the rustling bushes in front of him, his hand sweaty around the hoe, his heart in his throat. A naked man emerged from the green, his grin a flash of moon-white in a thick beard, his penis swallowed up by a thick thatch of pubic hair. His voice was an omen as he repeated the song slowly.

Juma’s mind took a few precious seconds to catch up to the fact that the song was telling him to run. He dropped his hoe and ran, screaming for help as he went and cursing Ian Sentamu for choosing a burial site so far from human habitation. It wouldn’t do for him to become a musezi; his reputation would not survive it. And to eat human flesh? No, no. The song followed him as he ran, getting closer, and closer, and closer… until a hand tapped him on the shoulder, and the musezi said, “Nkukutte.”

Acan Innocent Immaculate is a Ugandan pursuing a Bachelor’s degree in Medicine and Surgery. Writing has always been her first love and she looks forward to a literary atmosphere where African stories will break the mould even more than they do now.

More of Acan’s writing? Read her story Sundown.

#AmateurNight stories  were submitted by writers during our previous #MEiREAD Amateur Nights. During Amateur Night, writers share unpublished work and receive feedback from member of the book club. Tell us what your thoughts are in the comments section.