Insane Living | Dorothie Ayebazibwe

“Don’t worry,” it says, “they lack your insight,’ Photo by Darlyne Komukama
“Don’t worry,” it says, “they lack your insight.”
Photo by Darlyne Komukama

 

I leap and clap and in ecstasy sway,
To a beat that –they claim -is only in my head,
I scream with delight at the clouds, all so bright,
In yellows and golds and silvers and reds,
And yet they insist the sky is just blue-white.
The sky softly whispers, a quick contradiction,
“Don’t worry,” it says, “they lack your insight.”
A fly buzzing past; a charming quick blurry…
Of… Thin legs… Neon colours, Fragile wings.
Whispers a joke… I collapse with mirth.
I am filled with happiness, I don’t know why!

The men in white, faces clad in solemn gloom,
Scan me with intensely searching eyes.
Armed with needles and fancy looking tools,
They probe, they pierce, they ask to no end,
Tiring, irritating and never-ending questions,
The women in blue. Ill-fitting dresses,
Hand me coloured pills and keep a safe distance,
Afraid perhaps of catching happiness?
So I tell them-again- about my husband Mark,
Who sits beside me daily and makes love to me at night,
I tell them about…about the twins; they make five today.
The sad men and blue women; sadly shake their heads,
“Your family is no more,” they shamelessly lie,
“You set them ablaze, three years ago,
In a smouldering fit of rage, that lasted three days.”
My husband beside me, tickled by this remark,
Slides to the floor; laughing, clutching his sides,
A gentle rebuke spills forth from my tongue,
“It isn’t nice, Mark, to laugh at the insane.”

 

Dorothie Ayebazibwe’s poem, Insane Living, has been shortlisted for this year’s BN Poetry Award.

Read the other BNPA shortlisted poems here: Africa’s Poetry Ambassadors #BNPA2014. The BN Poetry Award began in 2008 as an annual poetry competition for Ugandan women, to promote poetry which was extremely marginalised in Uganda and to give a platform for women’s voices especially. From 2014, the award has extended its arm to include all African poets. It has been the only poetry award for women in Africa for five consecutive years.

Dialogue Over The Twilight Zone (Ebony & Ivory) | Moses Muyanja Kyeyune

Photo by @spartakussug
Photo by @spartakussug

EBONY:     SING, sing Ivory, inspire my night in Music.
Throw your voice over this shining cordon,
Into the halo of your ever clambering moon.
Colour this cloud floating silent in my musings.

IVORY:     MIDNIGHT Prowler, hunting solo, hunting forlorn,
Lift your eyes and look upon my shadow.
Don’t you see, I’ve been frozen in Luna’s bright awe?
My voice ebbs and wanes in the twilight zone.
Look, look how I glide over your cradle,
Hold your whisperings, hold do not intrude,
On a night like this, even a sigh would be crude,
Listen to the music in your heart’s own throttle.

EBONY:    BEAUTIFUL, how can I hold my breath for this interlude,
When it is your song that draws me to this wall?
Will you sing that I may hearken to your call;
And howl out to my brothers from far and wide?
For my eyes are aglow, your moon should never fall,
Here I am drawn to you from the wild,
Can you thwart nature’s instinct nature’s pride?
Thrive, thrive do not stifle the fire in your soul.

IVORY:     THE fire in my soul is to my body weld,
A spirit that burns free must itself immolate,
The embers of my freedom have scattered your way,
Have drawn you to me like a weapon I wield.

EBONY:    WHO then, do you sing for desolate the night,
Perched upon the hands of time like an Angel?
Is there Nectar in the curled up flower, Say Nightingale,
Or do you eat the Rose-buds on your fancy flight?

IVORY:     I sing for the Rose the bees have made weary
Nightly, I gaze upon her and her beauty devour,
In the moon’s shadow she’s without tint or color,
A beauty that sleeps gives wholly and freely.

EBONY:   THEN let me drawn into your Orb journeying lonely,
Share with me your some, your heavenly delights,
Let me rest my eyes from this contrasting night
And sleep like the flowers dressed naked in Ebony.

IVORY:    SLEEP in Ebony, and tonight our dreams shall be shared,
Drift into my shadow like a lover where I hide,
And there, upon entering to my world do abide,
Then I shall sing for your musings and music shall bear.

 

This poem by Moses Muyanja Kyeyune has been shortlisted for this year’s BN Poetry Award. His other two poems After The Rains and Celestial Sprout (Twin-Tomato-Tree) were longlisted for the same award this year. It was back in 1994 when it occurred to him that he could write poetry. A friend  challenged him to observe a painting and translate every thing he saw into words. The result was his first poem, Boudoir Drama (a clairvoyant’s adoration of a woman as she leisurely goes through the ritual of undressing). His poems have been published in different anthologies.

Read the other BNPA shortlisted poems here: Africa’s Poetry Ambassadors #BNPA2014. The BN Poetry Award began in 2008 as an annual poetry competition for Ugandan women, to promote poetry which was extremely marginalised in Uganda and to give a platform for women’s voices especially. From 2014, the award has extended its arm to include all African poets. It has been the only poetry award for women in Africa for five consecutive years.

#Layers: A poetry theatrical production | Rashida Namulondo

layers

“We are frightened of ourselves
Scared of our next victims.
Scared of the timing of our next tantrums.
Natural instincts cause us to isolate ourselves.
Anticipating our next victims
Anticipating our next fall.”

A few years ago, I was talking to a bunch of friends. Friends that are confident and sure about themselves. While we talked, they spoke of their colleague, an accountant, at work who had little or no esteem at all. I was curious as to why a grown-up would lack esteem so I figured out ways of becoming her friend to get my answer.

My discovery was not only life-changing but also inspirational. From interacting with her, I found out that she had built layers of walls around herself;  she was insecure, guilty and afraid of herself. She felt vulnerable because she has asthma. In her own words she said, “I keep a low profile because I am scared of myself. I am afraid that any moment I will get an attack. People have been kind to me but that makes me feel more vulnerable.”

Since then I have taken time to talk to people living with illnesses especially the ones we have gotten used to such as asthma, sickle cells, heart issues, pneumonia and others. I have documented their feelings and views of other people into a collection of short poems entitled #Layers.

#Layers is a collection of poems that takes you through emotions of people living with disease and their struggle to contain it. It’s a tale of all the layers we build around ourselves, consciously or subconsciously that make us withdraw from society, lower our esteem because we are sick or stressed out. The poetry is translated into a poetic musical play.

I believe in the power of words. Our minds have been filled, our pages stained in ink, so our words can liberate our souls, liberate our children’s children’s souls.

 

Rashida Namulondo is a poet, actress and Salsa genius. She won the BN Poetry Award for her poem Time in 2013.

Now What? | Daphyn Rwabwera

Photo By Darlyne Komukama
Photo By Darlyne Komukama

She woke up at 5am.
Her salt stained lips reminded her of the night before.
Gently, she touched her face and there it was- evidence of a heart breaking.

Now what?
What next?

Her dream had died even before it had begun.
By way of text, in the blink of an eye, she had to say bye.
There was nothing she could do.

Or was there?
They were both Christians, after all.
Didn’t they believe in hope at all cost?
Didn’t they believe in faith at all times?
Or were faith and hope reserved for spiritual things?

There is a list.
There is a list that detailed where she went wrong.
And it was not a short list.

The mirror still doesn’t hold its usual appeal.
Sad eyes now stare back at their own reflection.
A reflection she can no longer look at.

Now what?
What next?

Do I hope like a fool for a heart that has already moved on?
Do I have faith in an ideal that has caused me nothing but heartache?
Do I just go to sleep and never wake up?

Where is hope?
Where is faith?
Or are they only reserved for spiritual things?

 Daphyn Rwabwera is a writer trying to find her feet. This is one of her first pieces.

Photo Credit: I am super happy to introduce our new partner, Darlyne Komukama. I admire Darlyne so much for being such an ardent reader and a great, self-taught photographer. Check out her photo blog here: http://darlkomphotography.tumblr.com/

Find her on Twitter: darlkomu

Fringes | Nyana Kakoma

“I am not fooled by babies. I am not fooled by their soft, pink, wrinkly skin. Nor their tiny, chubby hands that flail like they are under the control of a puppet master." Photo by Edward Echwalu
“I am not fooled by babies. I am not fooled by their soft, pink, wrinkly skin. Nor their tiny, chubby hands that flail like they are under the control of a puppet master.”
Photo by Edward Echwalu

 

 

Slum Girl Best In PLE

That is the headline that made my father want me for the first time in my life. He and several private schools that wanted to give me bursaries to increase their chances of ever appearing among the top-performing schools in the country.

I was not exactly a slum girl as the headline screamed but I could see Gasiya, Kampala’s biggest slum, from the veranda of our house. On rainy days, we, the children that lived on Gasiya’s fringe, laid down our garbage in the gutters that separated our houses and watched it float and weave its way down through the slum. On hot days I watched the Gasiya children take off their clothes and run around playing in puddles of mud, their sweaty, unbothered mothers swathed in lesos and nothing else. On such days, a thick, dusty air steaming of faeces, fermented sorghum and despair rose up and spread to the rest of us on the slum’s fringe and convinced us that we were no different from the Gasiya children. I was seated on the veranda of our house, trying to endure the heat, when a man who said he was a journalist told me he was there to interview me. I was among the best in our primary national exams and mine was the story that would inspire many more. The headmaster of my school had led them to my home. Up until that moment I had no idea the headmaster knew me or where I stayed. He took charge of the photo-shoot that ensued, clutching my hand firmly and asking me to smile while he heartily said, “Congratulations!” for each photo angle over and over again.

My face was splashed on the front page the next morning and my father, who had ignored me all my life, summoned his sister and placed the photos that my mother had left him next to the one in the newspapers and asked her to tell him he was not imagining things. She confirmed that he was not imagining things and he ordered her to find me immediately and quietly.

In the days that followed I met my aunt Merab and I found out that I was indeed the daughter of the Minister of Health.

“There was no way he could have denied you forever,” she said as she examined my face, “You children that are born outside have a way of clutching onto looks in such a defiant manner! Look at Boaz’s nose right in the middle of your face! I could tell that nose anywhere!”

It was at that time that I saw a light in my mother’s eyes that I had never seen before. My mother, whose eyes had been dulled by alcohol and rejection and who took no interest in anything around her for more than a minute, suddenly became giddy and punctuated all her sentences with nervous laughs. The day we were fetched to go and meet my father, she ironed her dress seven times, telling herself each time that another press would make it look better. She checked herself in the mirror when she could spare some attention from her dress and fussed over her neck.

“My neck isn’t what it used to be. It gives away my age, doesn’t it?”

She threw another scarf around her neck and asked if it went well with her dress.

“It has been very hot of late. Maybe a scarf is not such a good idea?”

“Yii yii kale I wish I had bought that eye cream Maama Boy told me about last month. See these lines around my eyes. Do they show too much?”

“Maama, this man left the moment you said you were pregnant. I don’t even see why we should go see him. He thinks he can just summon us and our lives will stop?”

I finally had her attention.

“Don’t talk about your father like that, Grace!” she shouted. “I only said those things because I was angry but he is a good man. He has finally come to his senses!”

****

When Nightingale met Boaz at Makerere University in her third year in the early 80s, he was everything nobody would find attractive. Unless one was into fat, short, fidgety men whose Ls and Rs got mixed up as the words rolled off their tongues. Nightingale never understood why those people never practiced English often enough to get rid of all those mother tongue interferences.

One afternoon as she lay on her bed, reading a compilation of Shakespearean plays for one of her classes that semester, she heard a faint knock on the door. On opening, a fat, short, fidgety man greeted her. “Night, I don’t suppose you remember me but my friend introduced me to you after the debate in the main hall yesterday.” Nightingale tried to remember him but couldn’t. There had been many people to greet after what had turned out to be a heated debate. Most of their lecturers had fled when intellectuals were persecuted and killed and the few students that stayed at the university campus staged debates to keep themselves occupied and to feel like they were part of the bigger shift that was taking place in their country.  At their last debate, Nightingale talked passionately about rights of the girl child. She was the only woman that spoke for the cause and was miserably assisted by two men. The other women in the audience were just grateful that their parents had let them see what relationship a chalk and blackboard had and hadn’t married them off in their teens. They knew better than to ask for more. What more could be given anyway? They sat at the back of the hall and watched Nightingale Katende, the Literature major, argue that women could do more than the secretarial jobs they were being given in offices.

Boaz Byamugisha, like most male students in the hall, watched Nightingale with keen interest. She came from a well-to-do family where no doubt, her free-spiritedness had been encouraged. She spoke eloquently and confidently. Boaz’s roommate in Northcote had played football with her brother while they were still young boys and when he voiced his interest in her, the roommate offered to do the introduction.

As Boaz stood at her door, he knew she could not remember him and he wanted to kick himself for it. Surprisingly, she let him in and he told her the winding story about his roommate and her brother by way of introduction.

“I have been watching you for a while at the hall and you speak really well,” he said to redeem himself.

No one could explain why Nightingale did not ignore Boaz until he showed himself out the door, like she had done other men or why she never rolled her eyes at him for calling her Night or why she was seen shyly smiling at him and visiting him in Northcote three weeks later. The fat, short, engineering student was not that fidgety anymore and charmed Nightingale with how he never tired of listening to her arguments.

Six months later, a few weeks before the end of her last semester at University, she could not explain her excitement when she missed her period. Of course most girls would be devastated but she and Boaz were in love and if tribal differences would stand in the way of their marriage, a baby would do well to convince her parents.

After she got confirmation from the university doctor, she waited outside Boaz’s room to tell him the good news. He was beaming when he saw her and told her he had amazing news to share with her as well. She excitedly told him about their baby and his face fell.

“We can’t have a baby, Night. Not now. I have been granted a scholarship to the school of engineering in the UK and I leave in three months. I can’t have a child now,” he explained. He paced the room as he explained how his parents back in Kihihi would be disappointed if they learnt what she had just told him. He could not even bring himself to repeat what she had said. Night patiently told herself that he would get over the shock and they would be able to plan for the baby. She would give him time to absorb the news.

The night she left Boaz’s room after their big announcements was the last time she saw him. Until five years later, when she caught a glimpse of him in a Pajero double cabin with government number plates as she crossed the Kampala Road with their daughter.

When my mother’s sister told me about my mother’s past, it was hard for me to think of her that way; fierce, fighting and leading. She worked at some women’s NGO and even with that, I could never say that I had seen her fight for any one.

Then the man whose disappearance in her life had made her eyes dull with alcohol summoned us and my mother was giddy and conscious about her neck. He was no longer “that man” but “your father”.

She knew where his offices were of course. She had newspaper clippings of the man and she had followed his career with the keenness of a political rival. She had been to his office several times but he was always out of the country, or sick, or on leave or in a meeting or just unavailable but, “Could we please take a message for him?” The message was always the same, “Nightingale needs to talk” and she left him several photos of me. She had enough pride not to leave a desperate message but her hope for their failed relationship kept her going back. With each trip to his office she plunged further and further into despair awash in any alcohol she could get her hands on.

Thanks to a newspaper headline, my father was finally interested. Interested enough to give us a fully furnished house away from Gasiya, a monthly allowance to make sure we did not want for anything and a call to a friend that ensured I went to the best school in the country that I had never applied to in the first place.

He told us he had a family, his oldest daughter was a year younger than me and that we would be taken care of as long as we would stay invisible. That was easy for me to agree to but not so for my mother who took to the bottle with more zeal after yet more rejection from Boaz.

“He once told me I was the most brilliant person he had ever seen. Don’t get so used to his awe at your performance. When he gets over it, he will discard you the way he did me,” she warned me one drunken evening, livid that I had my father’s attention and she did not.

****

“Why do men always choose the stupid woman?” My mother asks me when I get home from work.

“Hello mother.”

“Seriously what’s with that? Is it just the desire to have a woman who will never question any of their stupid decisions?”

I can tell from the way she is smiling that she has only been drinking for a short while. I can also tell that given a few more swigs, that smile will change to a snarl.

“Your father must be wishing he had married the one with brains.”

I glance at where she is seated and there on the table, is a half-full bottle of Bond 7 and next to it, a quarter-full glass of the stuff. She is not drinking from the bottle yet but I know I will be talking to the whiskey soon.

“Why would he?”

“Because, my dear child who lives under a rock, your father was arrested for mismanaging funds that were meant for some kids’ drugs.”

I reach for the newspaper next to her and there are six pages dedicated to his properties and pictures of his wife with her cars, bags, shoe racks, perfumes and all the things that make the insanely rich happy. Pictures of her and her friends at uptown bars and restaurants “spending tax payers’ money” as the caption puts it.

“Did that woman really have to gloat about their vacations and properties to everybody that could hear? Stupid woman. Serves them right!”

My mother throws her head back and laughs uncontrollably. The contents of her glass spill into her seat. I know her well enough to know that she will soon be sobbing uncontrollably while hurling all her seasoned insults at the man. This is my cue to leave.

This also seems like a great moment to call Chris even though we agreed that I would never call on evenings he spent with his wife. We spent last weekend out of town together and to allay his guilt, he has spent most of the week’s evenings with his wife.

I fish for my phone out of my bag when I get to my car and crossing my fingers, I send a text.

“Drinks?”

“Now? Where?”

I am pleasantly surprised.

“Hotel Bougainvillea. Will be there in 30.”

“Race you there? Will be there in 20.”

:)”

Chris says he cannot stand his wife’s friends who she always invites over to their home for one thing or another.

“It’s movie night today. I was actually wishing we had made plans when your text came.” He steals a kiss. “I must have done something right today. Shouldn’t you be at home?”

He has not met my mother even if he has asked. I have refused because I actually like this thing we have. My mother has met some of my boyfriends. All the ones I wanted to get rid of anyway. One foot into our house and she made them never want to call me again. But I like Chris and I still want him to call me.

“No. I stayed in office to finish some stuff.”

A bottle of wine later, after he has laughed long and hard about some “thug minister” that was arrested that day, Chris delves into his favourite topic.

“I am not that drunk, Chris. I am not having children with you whether you ask me when I am sober, half drunk, sloshed or horny.”

A year ago, Chris and his wife, after four miscarriages, were told that they could not have children. That’s the time I met Chris; angry and grieving. Six months into our thing he asked me to have children with him. He chose every opportunity to convince me he loved me enough to want physical proof of our love; while we cuddled, while we had sex, in late night texts and he whispered his pleas while we were out in bars.

“You never tell me why? You don’t want your children to have my big head? Or do you fear that I wouldn’t take care of them?”

“Maybe.”

“My head isn’t that big.”

God! He is so infuriating when he is drunk and baby-struck.

He reaches into his pockets and pulls out a crumpled newspaper page.

“Read this article. You will see why having these children now does not only benefit me but you as well.”

Common Mistakes Women Make is the headline of the article he obviously hopes is going to win the one fight that we have had in this thing.

Most women prefer focusing on their career at the expense of starting a family early. Health experts say the ideal age for a woman to have her first child is between the ages of 24 and 28 years.

“Ha ha ha. You are out of luck, man. According to this article, my good eggs got finished two years ago.”

“Two years late isn’t so bad. But it gets worse the longer you wait.”

“I am not waiting. Waiting assumes it is something I want in future.”

“But how can you not? Every woman wants a child.”

“I guess this makes me less of a woman, doesn’t it?”

I am now getting angry at this ambush. If I had known that my booty call would end up in a more scientific take on this baby conversation, I would have endured my mother’s drunken slurs.

“Banange that is not what I said. You are every inch a woman but children would give us more purpose, they would give some meaning to why we work so hard and our love would be more concrete.”

“Our love? What love? This thing…what we have does not seem like love to me. The way I see it you are a man shopping for babies and I am sorry to say but this supermarket, the one you are in right now, does not stock the item you are looking for.”

“A supermarket that is not child friendly?” He tries to lighten the mood because I am now standing up and speaking on top of my voice.

“You really want to know why I don’t want children?”

“Yes”

“I am not fooled by babies.”

“What?”

“I am not fooled by babies. I am not fooled by their soft, pink, wrinkly skin. Nor their tiny, chubby hands that flail like they are under the control of a puppet master. I am not fooled by their blank stares and random smiles like they have remembered something hilarious from their days in the womb. I am not fooled.”

“They are cute. But there is more to them than that,” he says, amused.

“Unlike men like you and all my girlfriends who are dying to be fulfilled by a bundle of clean clothes, Dettol and talc in their arms, their little wails never clutch at my heart and make me want to have them. Babies should never be an answer to an emotion. A solution to our inadequacy or our loss of purpose. They should never be the thing you use to make a relationship last or firmer or more meaningful and certainly someone should never be forced to have them.”

“Grace, I am not forcing you.”

“They never measure up. They are just babies. Just children. They never fill that hole that your lover did not fill the day he decided that you were not enough. Then, poor babies fail to measure up to your expectations and they are left at the fringes of that place could be capable of loving them and they have to scrape for whatever attention you can spare when you are not obsessing over your failed relationship. Why should they scrape? They never asked for it. God forbid if they look like the man you now loathe for your unrequited love. The poor things will never hear the end of the painful reminder that they are of the person that broke your heart. I am sorry Chris, but babies do not fool me.”

“Wow! Is this what they call daddy issues in the movies?” He attempts to lighten the mood again.

“Oh please! You asked why I don’t want to have children. That is why.”

 

Here are some more stories by Nyana Kakoma: The Suubi Collection Pg 30 as Hellen Nyana and Just Because You Did Not Win.

Fringes was first Published on The Storymoja blog.

7/7: Stop Telling Women To Smile…and other reads

 

 

Photo by Edward Echwalu
Photo by Edward Echwalu

African Women’s Developed Fund and Femrite gathered women from different parts of the world for a non-fiction workshop here in Entebbe (Uganda). The workshop is still on. I have been following the conversations on twitter via #AWW14 and they have ranged from language in writing to hair to feminism to marketing one’s work to bleaching and much more.

This has also meant new reading material for me from some of the participants in this workshop. Here is what I have been reading:

1. Where are the women in African non fiction by Minna Salami @MsAfropolitan

Unlike fiction writing, where women writers are doing well, gender inequality in the African non-fiction literary scene remains an unambiguous and crippling problem. Sure, writers like Dambisa Moyo, Noo Saro-Wiwa, Pumla Dineo-Gqola and Ayaan Hirsi Ali are contributing with compelling and heated investigations of African matters, but the non-fiction genre generally suffers from a lack of writing by African women.

This is because, like women everywhere, African women are systematically discouraged from probing intellectual matters.

2. To girls whose thighs touch…by Amina Doherty @sheroxlox

I realised that this ‘fat shaming’ isn’t just something that happens in the amorphous “media” that we tend to blame for everything, but often in our own homes, amongst our families and in our communities. Fat shaming transcends cultures and I’m pretty sure it doesn’t matter if you are African, Caribbean, Asian or American — We’ve all had them – the aunties that remind us that we (big women) will never find husbands unless we loose some weight (eiiiiiiii!!). And it is by no means just our aunties alone. Being fat it seems invites anyone and everyone into our own personal space.

3. Girl Power, Rah Rah – Nah by Olu Timehin @TheLoulette

My (and most other feminists’) feminism isn’t anti-man, man-hating, militant rampaging. It’s not about men. It’s about systems of oppression and the usually but not exclusively male-run, male-upheld institutions that promote and perpetuate them. It’s about patriarchy, about kyriarchy, about the dehumanization of women and men due to subjugation, abuse of power and denial of rights

4. My First Time: Stories of first time experiences from women like you.

Last week on Twitter, My First Time sent out an invitation to submit your first time hair experiences and your first time experiences with skin lightening creams or the first time you became aware of being dark or light-skinned.

Send your experiences to: 1sttimewritingproject2010@gmail.com

5. Stop Telling Women to Smile, an art series by Tatyana Fazlalizadeh, that attempts to address gender based street harassment by placing drawn portraits of women, composed with captions that speak directly to offenders, outside in public spaces. 

6. Take a Photograph (a short story) by Jen Thorpe

He did a bad thing Jonathan. He tried to protect the world he loved, but he tried to protect it in the wrong way.’ And that was all she had had to say. And I guess I didn’t want it to be worse than that – when you’re a laaitie like I was there is so much that you can imagine that would be bad and I didn’t want to confirm my worst suspicions.

7. Lastly, have you read my short story, Fringes on the Storymoja blog?

Then the man whose disappearance in her life had made her eyes dull with alcohol summoned us and my mother was giddy and conscious about her neck. He was no longer “that man” but “your father”.

I hope you enjoy these stories as much as I have.

Have a lovely week!

 

7/7 is Sooo Many Stories’ way of helping you beat the Monday blues. 7 things that are making me happy in the literary world that will make you happy too!

The Dogs Are Hungry | Harriet Anena

Photo by Edward Echwalu.  More here: http://echwaluphotography.wordpress.com/2011/09/01/joseph-kony-destroyed-my-life-abductee-speaks/
Photo by Edward Echwalu.
More here: http://echwaluphotography.wordpress.com/2011/09/01/joseph-kony-destroyed-my-life-abductee-speaks/

 

We raided a tree, Owelo and I. Hopped from one branch to another to sit atop the tallest and plucked yellow things. We thrust our teeth into them: juices trickled down our hands. We ate as though we were being pursued.

“Why are you throwing mango peels all over the place?” mother asked. The fruits fell from our hands in fright. We looked down. Mother and grandma were both standing there. We wondered how long they’d been watching us. Whether they’d seen how we raced the tree branches like monkeys. And how we counted aloud every fruit we ate and every seed we threw down.

“The children are hungry,” grandma said. “Let them eat.”

When we had stripped the tree of all ripe fruit, we climbed down and headed to the swamp for sugarcane. We were at the swamp in minutes, panting like lizards that had escaped the fangs of a cobra. We pulled one cane at a time from the marshy soil. We made a leaf mat and sat, eating until our lips and tongues hurt.  Our cheeks were mapped with yellow and white lines as mango and sugarcane juices trickled down our faces. We didn’t care. We lay down for a while as we pondered how we would make it back home: our stomachs felt as though we had swallowed a sack of wet soil. We started the walk home, occasionally plucking blades of grass or leaves by the roadside and pelting birds with stones. Owelo kept up a conversation, mostly to himself.

“What do think our stomachs look like from inside?” he asked.

I kept quiet.

“After eating groundnuts, roasted maize, you added sugarcane and mangoes,” he continued.

“Why are you saying ‘you’, didn’t you also eat all that?” Owelo burst into laughter. He rolled on the ground, tears streamed down his face as he held his stomach.

“What is so funny?” Owelo laughed until he farted. Then I joined in.

“Why do you eat as though the world is coming to an end?” Owelo asked. He was still laughing when we resumed the walk home.

I woke with the sound of Owelo’s laughter fading with the dream. It was 7 a.m. Father and mother were seated looking outside our make-shift hut. Their eyes were fixed on something I couldn’t make out. They didn’t even blink. Occasionally, they gave each other a meaningful look but they never uttered a word.

“What is the problem?” Father asked when he heard mother sigh.

“I don’t know, but something is not right. I can feel it right here,” she said, pointing at her left upper chest.

“Let’s go home,” Father said and pulled the blanket off my body.

As we left the swamp for home, my mind went over the dream and I thought about that last day before the rebels came. The day Owelo and I ate too many mangoes and too much sugarcane. We left the sugarcane plantation limping with satisfaction. As we neared home, the scent of millet bread and pasted peas pricked our noses. From the entrance, we could see grandma in the kitchen arranging utensils for supper. We ran to the kraal to escape the incoming meal time. But grandma fished us out minutes later. We cursed her, silently. We cursed her some more when she insisted we must eat.

“In my home, nobody sleeps without eating,” grandma said. We picked at our food, chewed slowly deliberately so that those who were hungry could do the bigger part of the eating. Grandma watched us keenly and pinched our ears whenever she caught us playing with food.

“Do you have sores in your mouth?” she kept asking. We sighed with relief when the plate of food was cleared. Then it was time for folktales. We sat at the wangoo, watching the orange flames dance as we listened to Grandma’s ododo about how the tortoise ran faster than the cheetah and how the hyena outwitted the ogre. Our ears consumed each story with infant greed. We huddled closer to each other as the evening wind sprinkled warmth from the fire on us. But when the moon flashed its rays upon Layibi Village, our eyes closed beneath the weight of sleep. The sound of snores fled our throats and lingered inside the grass-thatched hut that was our sleeping haven. Our legs and hands were strewn across the shared papyrus mat in a careless, child-like fashion. On the dung-smeared floor, two heaps of blankets lay dejected. Outside, goats ran about the compound with speed as though they were chasing something unseen by the human eye. The chickens slept on the koro, chirping late into the night. The cocks stood at the door, watching over the hens nestled at the back of the storied shelter. The December moon took its time walking across the sky, bearing witness to activities within and outside Grandma’s home. The night was quiet, dotted with bleats, chirps and hisses.

Then guns were fired.

“Wake up now! Fast!” We woke up to see Grandma bending over us, shaking us awake. My legs were trembling, my palms were damp. I squatted behind the door, shaking like a chick that had just been picked out of a pool of water. Owelo peed on himself. What’s going on? Where are we going?

Lukwena,” Grandma said, as though she had read our minds.

We headed for the bushes as gunfire between the LRA rebels and government soldiers tattooed the night. We ran, stumbled, fell, got up and ran again. We maneuvered through potato gardens, swamps and fields. We didn’t feel thorn pricks, the hurt from a fall or the thrust of a toe against stone. There was no time for pain. It was only until we took shelter under the Odugu tree, that pain bedeviled our skins. We huddled together to keep away the cold, and waved in the air, to chase away mosquitoes. We had invaded their territory.

“We’ll be safe here,” grandma had said.We believed her. When we returned home the next day, Owelo’s father declared that his son would not sleep in the bushes again.

“He will stay right here, sleep right here in my house,” he had said. “If God wants us alive, he will protect us from lukwena, whether we sleep home, in the bush or in a camp,” he had said, when Father insisted his family joins us in the swamp that night.

“Let God do his work. He knows that an old man like me gets tired of running up and down every night. I’m sure he knows that.” He also refused to go to the IDP camp like most of the villagers. Owelo’s father told the soldiers who came to herd people into the camp that he was not an insect.

“Why should I squeeze myself in an IDP camp like locusts in a bottle?” he asked the soldiers. “I’m not homeless, not yet.”

My recollections were cut short when Simba, father’s dog, came running towards us. He didn’t jump or bark like he usually did whenever he saw us returning from the swamp. Instead, he wiggled his tail vigorously as he panted and tagged near father. We looked at each other, then back at Simba. Heavy silence lurked over our home. The tree branches were still against the mild morning wind. The goats stood in a group in the compound, not nibbling at the grass. There were no chickens in sight or pigeons perched on the kitchen roof basking in the sun. Simba started running towards Owelo’s home. We followed him. Grandma, Grandpa and the rest of the family had just arrived from the swamp. They followed us. As we drew closer, we could see smoke rising from the kitchen. The smoke was mild, and dying with the receding inferno. But we could still feel the heat from a distance, and the smell of something which had no name. The roofs of the two other huts were gone, only a few bamboo poles could be seen, battling the teeth of fire that was slowly eating them away. The walls were black like soot, the wooden doors and windows, gone. A few saucepans lay in the compound upside down. What was once the water pot were broken pieces of dry clay. Plastic cups and plates had all melted under the heat, a few lay scattered around, deformed. We watched in silence and felt energy flee our bodies. The mats and blankets we had carried from the swamp fell from our hands. We rubbed our eyes to be sure we were not dreaming. Mother held her head, then she slumped down under the Odugu tree. Government soldiers stood around the home, each holding an AK47. Father approached one of them.

“What happened here my son, what happened?” he asked.

“Are you blind?” the soldier asked.

“We told you to leave for the camps. Why are you asking stupid questions now?” “This is a tragedy my son, no need for finger-pointing.”

“You villagers think the rebels are saints. It’s good you have seen what they are capable of,” the soldier continued, before walking away. Father walked over to where mother was, whistling and shaking his head.

“We have started dying one by one. It’s a tragedy, but it’s not news either. The rebels do this every day,” he said, attracting a long, reprimanding stare from mother.

“How can you start dancing on the graves of the dead before they are even buried?” Mother asked.

“Nobody has said anybody is dead…no one.” Mother said nothing.

“But you know I’m right. This happens every day, everywhere in Acholi, Lango, Teso, Congo, Sudan…” Father continued.

“Were you not with me that day when Akello read news on Mega FM?”

“Akello reads news on Mega every day,” mother said, her voice reeking with disgust.

“Yes, yes. But that day was different. That day, Akello said rebels hit children on tree trunks in Lokodi. Pregnant women were taken into early labour. Their stomachs were slit open and when their husbands tried to resist, their heads were offered to machetes…”

“Stop! Isn’t it enough that I’m staring at hell right now?” Mother asked, her eyes filled with tears, but no drop was bold enough to roll down her face.

“It’s ok, woman. It’s ok. But tell me, how different is this from what happened in Lokodi? Tell me,” Father insisted.

“It’s not the same. This is about a neighbour we have known since long ago. This is about Owelo, your son’s best friend,” Mother said. Her shoulders started shaking, slowly then vigorously. She lowered her head, and covered her face with both hands. I didn’t hear her cry, but I knew she was crying. I wanted to walk over to mother and console her, but my legs were glued to the ground I wasn’t sure I would stop her.

“It’s the same my dear, it is all the same. Death is death. It has only one name. Every killing is evil. It doesn’t matter who is killed,” Father said and walked away towards the soldiers again. I slowly went to sit near mother, afraid to reawaken her anger when it seemed to be receding. I rubbed my body slightly on her arm so she would look at me. Her head remained bowed for a long time. When she finally looked at me, her eyes were bloodshot.

“The attack on Lokodi was different, son. It was,” she said. I kept quiet.

“Kill anything that breathes.” That’s what Commander Lanek told the rebels in Lokodi,” Mother continued.

“And they did just that. Killed everything that breathed,” she said, holding her chin in both hands.

“But Mother, are you sure not even a single person survived?”

“Some did. They were abducted, made to carry sacks of food through Kitgum and Pader to Sudan.”

“Ok…?”

“When they reached Ayugi River, Lanek asked if any of the abductees wanted to take a rest or go home.”

“Really? Then Lanek is not that bad after all, right?”

“It’s not that simple, son, not at all.”

“What do you mean, Mother?

“Those who raised their hands up, to say they were tired and wanted to go home were taken home.”

“Then that was good, wasn’t it?”

“No. They were taken home. Lanek – the killer – lived to the meaning of his name,” Mother said, uttering the words with care as though they were thorns.

“And from that day onwards, no abductee got tired, and no one wanted to go home.”

At that moment, I wanted Owelo to emerge from somewhere. I wanted him to be with us, alive.

“They must have survived,” Mother said, looking at me closely.

I wanted to believe her. I wanted to hold the hands of hope, look it in the eyes and trust it with Owelo’s life. I wanted to believe that we would still continue going to Gulu Public Primary School together. I wanted us to sit on that desk in Primary Five together. Eat the packed lunch of Mutere together. Run in the rain on our way home or bear the mild heat of the setting sun together. Most of our plans were still unfulfilled. We were supposed to go bird hunting and learn how to milk the cows. We were supposed to tether goats and count chicken eggs for Grandma. I wanted to give God a deadline so that Owelo would show up but the more I thought about Owelo, my memory of him became a ball of fear and hopelessness that rolled under my skin. I wanted to strip my mind nude of all things we’d done in moments never cherished but meant everything now. I failed and rage set my body on fire. Words remained stuck beneath my tongue. My eyes became misty but I didn’t want to cry because I knew I wouldn’t stop. I walked away from Mother. I stood under a mango tree and looked around, opening my eyes wide so that the tears could retreat. Then across the compound, I saw Simba and five other dogs running around in excitement. They were fighting for something. Simba came running towards me with a shirt in his mouth. It was the shirt Owelo had worn the previous day. Simba dropped it at my feet and ran back to join the others. I went over to where the dogs were. Owelo was there. He looked at me. He smiled, that smile he always wears whenever Grandma says we can go play. I moved closer, held his hand and tried to help him up, but a hand pulled me back. It was father.

“He’s gone, son.”

I knelt down and grabbed Owelo’s shirt, held it tightly to my chest. My body shook with all tribes of emotion that existed. But no tears left my eyes. They flowed from within. Suddenly, Father turned away from me and hurried towards the main hut where Owelo’s parents slept. When he came out a few minutes later, I knew by the look on his face what the smell was. The soldiers watched us in silence as though they were waiting for divine instructions. I wondered where they were when all this happened. Were they patrolling another village? Did they know the rebels were coming that night? Did they come to battle the men-turned-beasts and were overpowered? Or were they as clueless as we were? It was Grandma who broke the stillness.

“My son,” she addressed the soldier who seemed to be in charge, “Can we carry away the bodies? As you can see…” she pointed at the dogs feasting on what remained of Owelo. The soldier tightened a grip on his gun then stared at Grandma.

“The dogs are hungry,” he said, “Let them eat.”


Harriet Anena wrote her first poem in 2003. It won her a bursary to high school and a license to ‘use’ and ‘abuse’ words at poetic pleasure. She has done that and more – recently venturing into the wordier world of fiction story writing.

Her story, Watchdog Games, was published in the Caine Prize 2013 Anthology, The Axe on Bookslive, while her poems have been featured by African Sun Press, Ghana Poetry Foundation, African Writers Trust and on her blog, Jotspot

The Dogs Are Hungry was written in 2010 but it was reworked under the 2014 Writivism Mentorship programme, with the keen guidance of Rachel Zadok of Short Story Day Africa.

 

 

Vimbai Shire on being a freelance book editor and copy editing Kintu

Vimbai Shire during the Editorial Skills Workshop in Kampala in June.
Vimbai Shire during the Editorial Skills Workshop in Kampala in June.

Vimbai Shire is a freelance copy-editor, proofreader, manuscript reader and book designer with 15 years’ publishing experience in project managing, editing and/or designing non-fiction illustrated books, text-only fiction and non-fiction books, magazines and various printed materials for publishers, businesses, public and private sector organisations, institutions and individuals.

Vimbai Shire’s company, Beyond White Space, has a wide range of clients including the African Writers Trust, the Commonwealth Foundation, Granta Magazine, Kogan Page, Kwani Trust, Laurence King Publishing and award-winning authors Jennifer Nansubuga Makumbi (she copy edited Kintu), Aminatta Forna and Leila Aboulela.

Vimbai was in Kampala last month to facilitate the Editorial Skills Workshop with Ellah Allfrey that was organised by African Writers Trust and Commonwealth Writers.

She took some time to tell us about her business and life as a freelance editor.

How did you decide to become an editor?
I have always had a love of books. As a child books were very much an escape for me. I always had a book by my side and I have always been one of those people that noticed spelling errors and noticed what is not quite right. So it’s something that was always bubbling under the surface. I definitely had an interest in writing and I still do but I also like to know how everything works. So for example when I was learning how to drive, it was not enough to know that when I turn the steering wheel this way,  [the car] also goes this way. I wanted to see and understand how the interior and the engine worked and my instructor thought I was a bit crazy. But that’s just the way my mind works. I just like to know the whole process of putting together a book including what it looks like and how to make it readable. I am not just looking at what a good story it is, I get a lot of reading pleasure when the typography is beautiful. It gives me a thrill.

Did you have to go to school to learn what you know?
Eventually, yes. After I finished high school, my first option was to go and study law. That is what you did when you did the Arts for A’ levels but I soon realised that that wasn’t going to be for me.

I got married and had my family at quite a young age so when I moved back to the UK with my young family, I just could not see myself having a career as a lawyer and giving the energy that a young family needs. I thought editing was something I could do and work around my children because I could work from home if I needed to. So I started doing a bit of proofreading and very quickly realised that I couldn’t do it as a lay person. It is a very specialised skill and I wanted to find out a bit more about it and it just grew from there.

What kind of school did you go to?
There is a very good school (now called the University of the Arts London; then it was called the London College of Printing) that I went to for my degree.  There are quite a number of universities now that are realising that there is an interest in editorial skills. There are a couple of private institutions as well and I’m really quite pleased about this. When I started it was looked down upon, you know, not quite academic enough and so on but I actually think these courses are really useful because they give you a complete overview of the industry. This means that once you go through those types of programmes you come out and you are ready to dive straight into work. As part of the course, they also give you exposure to different publishers and get you internship positions. That is how I got my first freelance position actually- through the institution I studied at and I was ready for it. I didn’t have to go in and think ‘Oh my goodness! What are proofreading symbols?’ because I knew them and had practised them several times throughout the course.

People look at books and think ‘Oh, that didn’t take much to put together!” but you can see how much [work] is put in to get a book like Kintu to that published final version and to make it look as beautiful as it does. It takes a specialised skill and I am really glad it is starting to be looked at as such and as one that is worthy of study.

Have you ever worked under a publisher or have you always been freelance?
I have worked for a couple of publishers full-time, but learned the most from a small publishing house called James & James Publishers. Most of the publishers I have worked for have been fairly small to medium-sized, not the really big houses and for me that was really great. The reason I enjoyed that and got so much out of it is because it meant that I had to take on several jobs at once, which solidified the demarcation of roles, whilst allowing me the freedom to try my hand at different roles and see what I was good at. Even when I held one or two positions at that publishing house, everything was at close quarters, in one office. There are some bigger publishing houses where the editorial department is on another floor. There is one publishing house I freelanced for and they had their entire design department out of house and the editorial was in-house. You never got to see what was going on with the design once the work left your desk and that happens sometimes in larger publishing houses. You may not have a lot of physical contact with other departments, which is different in smaller publishing houses. But when everything was in-house we saw each stage as it happened and I learnt so much from being in that situation.

The other thing with big publishers sometimes is that you may only get to do one job/role and that is all they ever trust you to do. At James & James I was given a lot of responsibility very early on, which really scared me in the beginning, to be honest, but it was great to know that my boss trusted me and I was able to ask questions when I did not understand something. It taught me a lot about being unafraid to make mistakes. Being unafraid to ask questions. Being unafraid to look for solutions if I didn’t have an immediate solution at hand. I had a wonderful boss – Hamish MacGibbon, who taught me a great deal and I am very grateful for that experience.

It also meant that when I did set up on my own I was less fearful than I might have been because I had already seen a working model of a good publishing house that had a successful niche market. I was able to see how everything works. For me it was perfect.

Do you employ other people?
Not at the moment but I work with other freelancers so I sub-contract some aspects of the work occasionally. At the moment, my business offers editorial and design services so I mostly edit and design books. I do take on some other design projects as well but I don’t really advertise that so much because my passion is in books and I want to be known for books.

How do you manage to do both editing and design?
I have been described by a few people as a ‘rare breed’ in that you rarely find somebody who is competent in both design and editing. It is normally one or the other and I have to confess that when I started, people used to get really confused and ask how I could possibly do both but I had a lot of experience in both editorial and design and typesetting.

I try not to do both at the same time on the same project but it does happen and I have managed it. I copy-edited and typeset Kintu, for example. At the moment I would say that 80 per cent of my business is editorial and 20 per cent is typesetting and design. The typesetting and design is something I can and do sub-contract if it gets to a point where things get really busy and fraught. I am less keen to sub-contract the editorial side of things, especially copy-editing and proofreading. It is something you have to check and so I wouldn’t feel good about getting some work and not reading it through myself. In instances where the project is particularly complex and I feel the need for a ‘second pair of eyes’ or where the deadline is really tight and the budget allows, I read it but might also send it out to another reader to check over. Then I will get both our marks together and see what I might have missed or what I might have picked up on that extra reading. That works quite well. Often my co-reader will spot something I missed and I will have marked up something that he or she missed. I judge and do what I feel is best for the book and what works within the budget and deadline, but I always read everything I’m sent. I have also co-read for colleagues as well and when there is sufficient budget for it, it makes for a better end result, I think.

But even with the books, you don’t specialise in one genre. How much do you have to read/know to make you that flexible?
I certainly wouldn’t put myself forward for something that is highly specialised – a medical text for example, because it is not my area of expertise but ultimately grammar is grammar, syntax is syntax and spelling is spelling and as long as the subject matter is not too complex or highly specialised, I will do other things and read any genre. I think it gives you a broader base and discipline. I learn something new from every single project and proofread I do. I am able to streamline my systems as I go and it gives me a challenge. It’s not for everybody but I enjoy the challenge.

As a designer, do you ever buy books because of their covers?
Not necessarily but if I see something particularly beautiful I will buy it, especially if it is an art book. I am very much attracted to beautiful cover design and interior design (beautiful typography) but those are things I probably do for inspiration as much as for reading. I don’t think I have bought a fiction book purely for the cover but it’s always nice when the cover looks good.

If I am in a bookshop I will spend many, many hours just looking at book covers; just seeing what is out there really, and I do photograph covers if I see something particularly beautiful.

While reading, do you get distracted by the design aspects of a book?
If I am reading for pleasure? No. I try not to unless something is glaringly obvious. I mean, we have all picked up something that has gone wrong somewhere. I remember picking up a book, a recipe book actually, and something had gone wrong with the printing so the type was misaligned, with one layer on top of the other, but askew, like looking at 3-D without the glasses. When I see things like that I feel sorry for the production team because I know what it is like and how things can go wrong sometimes. It is such a shame to have something go wrong at the very end of the process, when everyone has worked so hard, but it happens. We’re human at the end of the day.

What do you know now that you wish you had known when you were starting your business?
I wish I had had more confidence in what we do as editors and recognised that it is a specialised skill. Although we are very much back-room technicians, I wish I had had more confidence in knowing that people get so much pleasure from reading a book that is well put together; well written and beautifully presented. There is an assumption (and this has increased with desktop publishing and self-publishing) that all you have to do is press a button and it will all get done. There is a lot more that goes into the making of a book and I wish I had valued that more.

How do you get your name out as a freelancer?
For me it’s been about doing the job, doing it to the best of my ability and inviting feedback afterwards. I always ask the client (especially if it is a new client) if they are pleased with the work I have done and if they mind recommending me to somebody else. 99.9 per cent of my work has come from word of mouth; somebody has recommended me based on a job that I have done for them. I’ve worked hard and been fortunate to get either repeat work or a recommendation (sometimes both) from almost all of my clients.

I am never afraid of negative feedback. It’s not nice when people are not happy with this or that but very often it’s not that they were not happy with what you did but it’s usually that their expectations might have been slightly different from yours in the execution of the work. I always find that a conversation with the client allays those fears. It’s very rare that it happens and I can only think of one instance over the 15 years of my career where something has not gone quite right but we maintained a good relationship with the client afterwards because we were able to talk it through and it was about expectations.

On copy editing Kintu

Vimbai Shire with Ugandan author Jennifer Makumbi  talk about their experience working together on Kintu
Vimbai Shire with Ugandan author Jennifer Makumbi talk about their experience working together on Kintu

Had you heard of Jennifer Makumbi when you received the manuscript?
No I hadn’t.

When I receive a manuscript and I don’t know the writer I always Google them. So I did and that’s when I learnt that she’d won the Kwani? Manuscript Project Prize. I was really excited to work with an author from my home continent. I have worked with a couple of others and it is always a real thrill. Also having worked with Ellah Allfrey before I know that anything she sends me is going to be great.

How was Kintu for you as a reader?
I got more and more excited after each and every page because it was beautifully written and Jennifer has a way of pulling you into her story. Before reading her story I didn’t know a lot about Uganda so reading some of her descriptions was nice. And then coming here I was thinking ‘Oh wow, yes, I see the hills she wrote about.’

In fact, I had an amazing experience the first day that I came actually. I had some free time so I had the opportunity to drive around a bit and as were on the way back to the hotel, at a junction, we saw about seven or eight men on motor bikes with huge branches and they were sweeping them about on the ground. the driver said, ‘It’s a good thing we passed before they came out otherwise they would have blocked the road.’ So I asked what that was about and he said the Kabaka was passing through. I was absolutely thrilled. I was like, ‘Oh, I know about the Kabaka’ because I had learned about baKabaka from Kintu. I was so excited. I didn’t see him but we saw the procession and it was a real thrill to see that those aspects of Jen’s story came to life before my eyes.

Did any of the Luganda words throw you off?
I speak Shona (my home language from Zimbabwe) as well as English so I don’t get thrown when I see a word I don’t understand. I don’t feel I need to have a literal translation. It doesn’t take anything away from the story, it just adds to it. Even when I speak with a Shona-speaking person, we will mix a bit of English and Shona and so I am used to that style. It has got a certain rhythm to it and I think I would have been surprised if I had seen no expressions at all in any local language.

I did not feel I had to know what each and every word meant and Jen has got this really clever way of weaving the meaning into the sentence so as you go along you start to realise that this word means parliament [for example] and so on. I never felt at any point that I was lost.

You said you learn something new from each project you work on. What copy-editing lessons did you pick from working on Kintu?
One of the things that you have to watch out for as a copy editor, especially if a book is interesting, is how you handle the research. So that you don’t say, ‘Now I have to go read everything there is about the history of Buganda.’ It was something I was cautious about. You could start to Google something and get completely get carried away and go down so many rabbit holes. I had to be really disciplined because there were so many things in the book that were interesting to me that were outside the bounds of the copy-edit. Kintu disciplined me to focus on the story at hand.

 

Thank you so much for taking the time to talk to us, Vimbai!

Related:

Ellah Wakatama Allfrey on how she became an editor and why editing should be professionalised

Money-making book lovers

 

7/7: It’s never that serious…

I was having such a lovely weekend when Monday rolled by. So I looked through the “book lols” folder on my laptop and decided to share my favourites. Hope these make your Monday more bearable.

 

…because I love Tom Gauld

The Family of Writers by Tom Gauld
The Family of Writers by Tom Gauld

 

The things I have been through…

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Book pains

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Ryan Gosling would never!

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Train up your child….

1#HousewifeWoes

index

Get more LOLs here:

Book Humour

Buzzfeed Books

Lit Wit

 

Have a fun week!

Why The Chicken Crossed The Road | Mark Gordon Musinguzi

chicken_2_ed

Just the other day my nephew, now four
Asked me,
Uncle, why did the chicken cross the road?

I looked at him for a second and another,
Then sat the little boy down for a lecture.

You see, there are seven reasons why the chicken crossed the road:

1. On the other side of the road
was a job opening advertised in the papers that day.
KFC was recruiting,
No working experience required,
All you had to do was be chicken.
Given her life’s obligations she decided to go for it.

2. She wanted to prove to the other chicken across the road
That no one could mess with her man,
and get away with it.

3. She heard that they were registering for national IDs
and she urgently needed one of those to lay her eggs.

4. She too was following her dreams;
Peace, liberty and the pursuit of happiness.
She couldn’t take this poverty-stricken economy any more.

5. She was tired.
Tired of the new laws that only favoured a few.
The new laws that were in line with the new agenda.
An agenda in favour of all sorts of unnecessary bills;
Land bills, marriage bills, long, short and mini skirt bills;
While other sorts of bills were flying through the roof;
Food bills, tax, taxi bills, rent bills, water bills, and more power bills.

6. She had to cross the road because hospitals were privatised,
Malls were built where primary schools were,
The army was sent to other countries and the police militarised,
The opposition was just walking about and shouting on the streets,
Priests were running out of their skins,
Journalists were covering showbiz,
Elections were rigged,
Jobs were auctioned
While education was ignored, exams were advertised and eventually sold.

7. She heard that they were giving out loans
To young entrepreneurs on the other side,
She decided to try her luck
and perhaps consider a career in poultry farming, brick-laying or boda-boda riding.

In that moment my nephew asked with a more concerned look on his face,
Uncle, am I chicken?

Mark Gordon Musinguzi is a Freelance Public relations Practitioner, Events coordinator and spoken word poet.

He is the founder of Open Mic, Kampala. He has been performing and writing poetry since 2009. He started a programme to coach and teach spoken word poetry performance to primary school pupils and secondary school students.

Find Mark Gordon on:
Facebook: Mark Gordon M
Twitter: @MarkGordon1


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