The term Afrofuturism is being rejected by writers of African descent because it is a distinctly different genre that should not be used interchangeably with Africanfuturism. The latter centres the African point of view, experience, culture, themes, and history with technology-based in Africa, not the diaspora.
Banned 45 years ago, and its author detained, the Gikuyu language play Ngaahika Ndeenda profoundly shaped the literary legend.
The South African-Nigerian novelist Yewande Omotoso has reimagined her deepest loss in An Unusual Grief, the darkly funny story of a mother who infiltrates her dead daughter’s life.
Oghenechovwe Donald Ekpeki’s Nebula-winning story “O2 Arena” is a biopolitical dystopia in which oxygen has become a commodity, with all the possible class implications.
Tsitsi Nomsa Ngwenya is one of the more prominent writers writing in Ndebele. Her new novel, Zalabantu Ziyebantwini’, came out this month. It will be followed by her fourth book, Portrait of Emlanjeni, later this year.
A year after his debut novella, Diaspora Dreams, Andrew Chatora thinks about the place of the African writer in the global context. Nominated for a major award in Zimbabwe, Diaspora Dreams interrogates identity, belonging and the migrant experience, a thread also followed by Chatora’s new novel, Where the Heart Is.
Long Read | In this second essay of a seven-part Shona series, “Is Dambudzo Marechera also among Medicinemen?” Onai Mushava revisits Marechera’s famous statement, “Shona was part of the ghetto daemon I was trying to escape.”
After a profoundly successful debut, Noviolet Bulawayo’s second novel – which began as non-fiction – leaves realism for allegory to confront the Zimbabwean present.
This Is Africa announces 2022 as the year of “Return to Marechera.” The great Zimbabwean writer, Dambudzo Marechera (1952-1987), would have turned 70 this year.