Ña ndánáma ndichi: á ni xa ké kuu ña ndakaka ndichi na yuvi

Tu’un sávi

Florentino Solano

Té xina’á vá’a ra na yuvi ra nixika ndiee ndi’i va na, mi tá xíka tákuu ndi’i kití iyo ndia vichin siki ndá’á rí xí’ín xiki xá’a ri. Na yuvi ra kama ka nixiyo na nuu leko chi nuu kuin chi nuu kini in ndikí. Xa’a ná chi nda’á na ra ndixa ní yachin xitá’á ña: inuú xitanii ndiee ña ra inuú nuu níxiyo tiva’vi ña: soko chi tie’e ka’á; kondo ndá’á chi kondo xa’a; sukun xá’a chin sukun nda’á; nda’á chi xa’a xí’ín u’un nduku níi váli nuu in nuu in ña ra nuu nduku vali kán íyo chíin. Ra mí tá nixiyo nduku nda’á na ra saá nixiyo tu nduku xa’a va, in ki’in ña in nduku nda’á ché ra in saá ndiakua nixaa ña nduku nda’á lo’o ra saá nixikaa nda’á ra saá tu nixikaa xa’a va. Té xina’á ra nduku nda’á chée ra yachin ní xi nditá’án ña xí’í ña sava kán. Chiyo chi si’in ra tá kuniña xí’ín ñani kuachí va xini ta’an ñá.

Ndia ndiá ka mií nuu kúni kuñu yuvi ku’un ña ra nda’á chin xa’a ra ndíso na ña kua’an na: a nuu yá’vi, a ve’e nuu kíya’vi ña’a, a nda’á itún a xiki ndaa ña. Tú ini tiakuí kúni kuñu ndasutiá ña a kuchi ña ra nda’á chin xa’a ra ndákitá’án na sákánda na ña ná kaándiaa ña. Vií ní ndakitá’án tu’un ña ra inuú xachún va ña. Tá kúú ñá kúmani nuú kuñu ra ndúkú na ña nuu ná sava kán, té kúni yuvi ka’an ña ra yu’ú ke táxi tachi, té kúni kuñu kuniso’o ña ra so’o ké chíndieé tá’án, té kúni ña ta’ni ña ra ixtin ké sáchún, ra té kúni kuñu to’ni ña ra nduchí nuú ké chindieé tá’án.

Xa’a kuiti ñá vii ní sáchún nda’á xí’ín xa’a ra, tákúú ndi’i na sava kán ra ndixa lo’o nisaa ná. Xa’a ñá kan ké nixíí ka na chindieé tá’án na xí’ín xa’a chin nda’á. Xa’a ñá sáa ini na ra nindákanini ña xa’a chi nda’á kuna ndíso na kua’an na chí yó’ó kua’an na chí ikán, ra saá ké xa’a ná ndaki’in tá’án yu’ú na ra kundasí na xa’a chin nda’á.

Yáa ra nindatu’un ñá xiní nixa ké ‘sa ña, ra saá kú nuu xa’a ñá ndátú’ún mií ndátú’ún in ña, ni chun ké ndieé ní va’a sáchún nda’á chi xa’a. Saá kú nuú xa’a nda’á chin xa’a kundasí tá’án ña, xa’a ñá kútíáa ña nuu tá’án ña nixa ndaku in ña nixa ndiáyá’vi in ña. Saá ra xa’a níya’a va tu’un, nixa ka nduvi ña yo’ó nixa ka nduvi ña kan; ndá’á ra kútíáa ña nuu xá’a chi náni ní ña, kání ni ña, nduku nda’á ña ra náni ká ña nuu nduku xa’a, ña yo’o ra ndu’ú ña chin kuítí ña. Saá ra nixín tu na nduku xa’a va, ra xa’a ná xákundia na ¡nduku nda’á xí’i soko, nduku nda’á níi! Saá nixika na kundasí tá’án na na’á va’a, xa’a ñá kan ra té xíkana kua’an na ra tu’va sákáki’i tá’án na. Té ndi’i ra saá ví kunda ini na chi xa’a kuiti ñá ndaku va ké kúndasí tá’án na, ñakan ké ndukú na ña mani nuu ná sava kán ña ná sandakú na chun xí’í na.

Yáa ké kachi nisa ké sa na ña ketá’á na. Tia ní va’a ndakanini ña, tákúndi’i na kindoo ini na. Ndísu ¿niña’a ké? Sava na kachi saá ná katá’án na, xa’a xí’ín nda’á. Sava tu na kachi saá ná katá’án na xí’ín ichi, a ñá yo kó kama ka, a kunu tu na, a kusíki tu ná in siki ndichí, ndísu ni in mitú’ún ña yo’ó ni kíndóo ini na chi u’vi ní ña nuu xa’a a nuu nda’á. Té ndi’i ra yáa kú tuku va ña nindatu’ún xini saa ke ndani’i ná nixa ké sa na. Nda’á chin xa’a kú na xíni ñú’ú ka’ndia niña’a ké sa na chin nakan ku na kétá’án. Saá kindoo ini uvi saá va na.

In nuu ndíka va’a ma’ñú yi’i, yachin yu’ú itia, ké ndakaya na ke’e tá’á na. Tákúú ndi’i na sava kán ra in xa su’va nuu va ná ni ké kuu chi tia ní ndaku kee tá’án na xa’a xí’ín na nda’á. Na nduchínuú ku na xítónaní ná kué ndo’o na kétá’án; na so’o kú na xíniso’o a ndiá ña kuu; ña ixtin kúú ña ndá ki’in xiko chíndieé tá’án ña xí’ín na sava kán; yáa ké xa íyo tu’va nda’yu: ¡Koto!

In káni lo’o va ra iní saá yi’i ikú kundaa ini na ña kúú, ndia ninu ndia ninu. Tákúú ndi’i kití kumi xa’a kúú na xaa nuú; kití ná’nu ra níí rí iku kuíi xaa ri ña ná kunda ini na ña tákua rí váxi tondie’é va kúrí. Xaa tákúú ndi’i nuu kití: kuiin chin ndiva’yú chin má’a chin sindiki tiátan náni ndikí xí’ín sindiki ché kuítí ndikí chin leko chin, tiu’ú chin tiín. Saá tu kití íyo ini tiakuí va: tiaká chin koo ichí chin sa’va, ndakoo rí yu’ú itia ra ndakundee nduva ri tondie’é rí. Kití uvi xa’a ta kúú nduxí ndá’vi chin nduxí ndoko su’ma sávikó rí su’ma rí xí’ín ndixin rí; saa vali in ní’i xíta rí nda’á itún; tikosó ra in káña yaa xíta rí. Tákúú tintóo chin tixaá chin timása chin tíkua’a xa’a ra xa in káni xíka rí nuu ñu’ún xa in káni kuandaa rí ndika itún. Koo ñu’u kuéé ka vi xíka, in táxiin xíka rí, ndísu síkín ra in chó’ó chíkán xíka rí kán ndáva rí sata yúu xa lo’o tu ndá rí nda’á itún va. Tákúú ndi’i na chánko ra in chó’ó chíkán ndáva na nda’á itún xíka na sásíki ná. Ndia itún ndoko xí’ín itún ndichi kué kué sákanda nu nda’á nú sákótia’a nú ra saáví xíkútuvi nú.

    Saá xa’á xita yu’ú in yaa:
    Ña yo’o ké xá yó kúsii ini yo
    Ña yo’o ké xá yó kúsii ini yo

    Ña yo’o ké xá yó kúsii ini yo
    Chi tákúú ndi’i yó ra
    In nuu váxi va yó.

Nda’á chin xa’a ra kindoo na kandíxa na ra sato’ó na yo ka mií satiaa va; saáa ná, kusúchí ini na ni kakín na kuachi ra in tá kué ní kuu saá koo va.

Nda’á kú ná xina xa’a: tiin na in ndu’ú ra sandúva na nu ñu’ú. Ra na xa’a kú na a tá in a uvi saá ná ra xíniñú’ú ndondiso na nu ra sákána na nu. Kuvi kata’an ná, kuvi nhindié tá’án na kuvi tu sachún nduku xa’a va xí’ín na, nixa ka mí kuvi va ndísu ña xinu chun ké ndiá ya’vi. Nixikandukú na satúvi ná nu, chintá’ni na nu; xa ña yo’o xa ña kan xa na nixika na ndísu nikúchun na ndondiso na nu, takua in yó’ó in káa va sa kánda na nu. Nda’á ra nduku ña tachi nuu yu’ú ra nixaku ndiaa ña xa’a. Saá ra na chiyo nda’á ra ni kenduu na ndatun ndatun sáñá’á na mií na ña kútíáa na, saá nduyachin na nuu ndú’ú ndu’ú ra xa chó’ó xa chíkán tiin na nu sakó’ni na. Siín ka ra ndondiso na nu ra sakó’ni na nu ndia ninu ma’ñú yi’i in ní’i ndákánda ini tákúú ndi’i na ndíta xító’ni. Xa’a ná kútiaa na tín na nduú yutí ini in yaxín nduchí; chikaa na i’va xa’a tíku; xava’a na nu’ni ndiee ndondiso na ndu’ú ná’nu va’a; sava’a na kuxin ra sakaná na nu nuu xíka va’a, ra na nduku nda’á válí ra tákua kúsúchí ini na kua’an ini na xító’ni na. Ndiá saá ra na xa’a ra tákua ndakundee na nda’ví xíto’ni na tákúú ndi’i ña xá na nda’á. Nda’á tákuu ndi’i na ndéé xítóndie’é ra in ní’i kátú ná nuu tá’án na kútíáa ini na, saá ra xa’a ná si’in xa’a nisaa va ná. Ndisu ni nisaa va ini na chi in kuu mií na nda’á kútíáa na xíka na ra na xa’a ndakunde ndákanini na nixa ké sa na satiaa na nuu ná ku’va kuáchi na ninu.

Saá ví ké ndukuita na xa’a xí’ín na nduku xa’a válí. Suví ña ndieé ví ké sa yó, kachi na su’va. Xakin na in tivi chéé ra kachi na saá chi na nda’á ra xíni ñú’ú kuiso na iní saá kuñu ra kee na xí’ín ña in xiyo yu’ú tivi ra ku’un na xí’ín ña in ka xiyo yu’ú tivi. Suvi ñá ndieé va’a ví kúña ñaa, kachi na nda’á su’va. Saá ra nda kuañu na nda’á ñu’ú ra nda kuiso na iní saá kuñu ra, xa’a ñá yachin tánii yu’ú chin nuu nu ñu’ú ra in ko’ni ndi’i yáka yu’ú, ixtin ra xa’a káxan ña; xa’a ra ndia ninu ndóso ñá nuu táchi: nyayo juu, in ní’i ndá’yu na ndéé xítóndie’é, ra xíta tákúu ndi’i na:

    Nyayo Nyayo juu
    Hakuna matata
    Fatua Nyayo
    Hakuna matata
    Turukeni angani

Ndísu in su’va ini na xító’ni na ni ña’a ké xá na nda’á, chi sakan in káni lo’o ra in ndixa ní kútíáa na nuu ná xa’a ra vichin ra in chó’ó chíkán kua’an vaxi nuu na ra ni kuví kuiso na iní saá kuñu. In káni lo’o ka ra saá xa’a ná nda’á xaku tiakuí nuu va ná, in chó’ó chíkán kua’an taxi nuu ná, kísi ña na, saá ra nikúndié na ra ndakava va kuñu ñu’ú. In káni lo’o ndakindie ná ra ndondiso tuku na ña. Vichin ra ndandika va’a na nduku nda’á ña va’a ná tiin na nuu ñu’ú ndísu tákua nduku nda’á ndu’ú va ké ndandika. Ndaki’in na nduva xíin ná ra ndísu nixíyo ya’vi ña chi chindié ta’án va xa’a xí’ín na. Vichin ra xa xa’a tu kúú na in ndúva xáku. Ndukú na ndiayú nuu yu’ú ra in yoo yoo ni xaku ndia na na nda’á, sándikó na ña xa na kan xí’ín na. Ndixa lo’o nisaa ná nda’á ra tuku ndukú na ndondiso na kuñu ra nisaá nikúchun tuku va na. Té kundaa ini na koo ñá koo ra saá ra xikutuvi va na. Saá ra ndukuita na xa’a ra in ndixa kútíáa na: xa lo’o táxá’á na, xa lo’o xíka na, xa lo’o xínu na, xa in kama tu ndáva na, ra ndia ni in ichí nindákava kuñu ‘sa na. Tákuu ndi’i xa’a ná ndé xítóndie’é ra in kánda kún na mií na xa’a ña kútíáa ini na xí’ín na tá’án na satiaa. Nda’á ra ndondiso ña mií ña ña nikíndoo ini ña ndieé ni sákúsúchí na xa’a ini ña, ndisu mií ña kúña xina xa’a va.

Ndísu in tu’va ndato’ni na ra, ndia na ndéé xítóndie’é, íyó in ña ndo’o nda’á: nduku nda’á ndu’ú ra xa’a ñá ndakundieé ní ña kuiso ña kuñu ra ndandika ní ña, xíka va’a nda kundú’ú ña nuu nduku vali sava kán. In vava’a xaa ini tákúndi’i na kuaku ndiaa na ña ra in tuva tuku ndato’ni va na ra, nuu ñá ndi’i xa’a ñá ra ña nduu kama ka va kúú ña, xa’a ña nduxíka íyó ña ra ña va’a ka ndatiin va kú nda’á. ¿Ni ña’a kúú ña yo’ó? ¡Ña yo’o kúú ña kúní kachi saá ña xa’a ñá nducha’an ña ra ña nduva’a ka va kúú ña!

U’un kii xindee tákúú ndi’i na ndaki’in tá’án tu’un na xa’a yo kúú na satiaa. Ndísu ni tia ní va kuni na chi nikúvi ndaki’in tá’án tu’un na. Tú in ña kúchun ní xa’a xí’ín ra xa in ña kuchun ñá xí’ín va, ña xa kuchun ñá xí’ín kán ra nda’á ra in tá xá ña sásíki va xá ña xí’ín ña. Ndéé na saá ra xa’á ndakaku ndíchi ini na: ni va ña’a kú kuñu ka’án na, ndísu tákúú ndi’i na ra ndaki’in tá’án tu’un na xa’a ñá tákúún ndi’i na kúú kuñu va. In tákúú ndi’i na ra xa íyo xa íyo in chun xá na ñakan ké va’a xáchún kuñu.

Saá ra xa’a ñá ná koó kuachi kii váxi ra in nduu yu’ú tákúú ndi’i na ra kachi na saá chi, kii saá ra in saá ndia nixaa kuiya ra, kuñu ra ndakaka ndichi ña, xa’a kúú na kuañu ñu’ú ra tuun tin na ra, nda’á kú na kutanii ninu va. Ndia mií kuñu ra kindoo ini ña xí’ín tu’un kán, ndísu kachi ña saá chi na kuachi ra té váli na ra ndiakua xíni ñú’ú kaka ndiee na ra saá ké naáa ini na nixa nixika na yatá. Saá tu xa’a ná ndata’ví na chun: xa’a kú na kuiso kuñu, ndísu té nixaa na nuu kua’an na ra, nda’á kú na ‘sa tákúú ndi’i nuu chun íyó. Xa’a kúna kuiso iní saá kuñu ra saá ké kuvi ku’u na yuvi ndiá kaa nuu kúni na ku’un na, ra nda’á ké xíniñú’ú sachún ra saá ké kuvi tandiaa ixta yu’ú ra saá ké koo ndiee tákúú ndi’i na. Yu’ú, a nu’u kú mií ña ndixa, sákuachi ixta saá ké ndati’ví ña ña ndia xtiva. Ra xtiva ké ku’ní ndi’i ña’a ti’vi yu’ú ra saá ke ndaki’in ndi’i kuñu ña va’a sachún xí’í ña. Té ndi’i ra saá ké ña yakua ndóo kán ra ndati’ví xtiva ña ini siti ra in saá ndiakua kee ña ke’e. Ra ña yakua kan kúú ña tia’yu ra ikán ndaki’in itún ndiee un ra kua’nu nú ra kana kui’i nda’á nú; nda’á ké kandia kui’i ra taxi ña ri nda’á yu’ú. In saá kuu ña kuiya tá kuiya.

Ndia ña kusíki xí’ín tákúú ndi’i ña kúsii ini na ndata’ví na: yu’ú ké taxi na ndiayú nda’á kata, kuaku, ka’an; xa’a ké kunu, chachá’á kondo; té kúni yuvi kusíki na kondo káni ndá’á a kondo váli súkun ná itún ra, xa’a ké kuiso kuñu ndava ña, kunu ña kaka ña. Ñu’ú nuu sásíkí na ra xa xíni ndi’i xa’a ndiá kú nuu xá’á ña ra ndiá kú nuu ndí’í ña. Ña ndata’ví na chun iní saá kuñu yuvi ra koo ká mií kití, ni chéé ní va rí, níkuchun satiaa nuu yuvi, saá kú nuu xa’á ndu ká’nu va’a va yuvi.

Ndí ni saá chi, tákúú ndi’i na ña’a válí ini ra ka’án na saá chi koo va kuachi vaxi ka. Xa’a ñá ndú’ú ninu xini ra sana ndakanini va ña ña ndíchí ka ña kan nuu xa’a, kuachi ña tándiaa na kan ñu’ú, a kuni ña kandia ña chun nuu xa’a chin nuu níma chin tákúú ndi’i ña ndéé tixi ña. Ñakan ké nikata’an ná chi ndia in na kúví kuchéé ka nuu ná sava kán. Ña va’a xinu ña yo’o ra kindoo na chi tú in na takue’e ra tákúú ndi’i na tixú’vi, tákúú ndi’i na ta’vi ini. Xandia na nuu yu’ú chi té ká’án ña ra xíni ñú’ú xa’a tákúú ndi’i na ka’an ña.

    Xita na:
    Iní kuñu ra
    kué in na sachún
    Iní kuñu ra
    kué in na sachún
    Chindiéé tá’án ndi’i yó
    Ndi’i yó xa’a ndi’i yó
    Chindiéé tá’án ndi’i yó
    Ndi’i yó xa’a ndi’i yó
    Chindiéé tá’án ndi’i yó
    Yáa kú tachi yó
    Kuiso kú yu’u, kuiso yu yó’o
    Ndi’i yó sakuá’nu tá’án yo
    Kuiso kú yu’u, kuiso yu yó’o
    Ndi’i yó sakuá’nu tá’án yo
    Ña kitá’án yó ké nduvi
    Inuú sachún yó
    xa’a ñá vií koo kuñu yo
    Inuú sachún yó
         xa’a ñá vií koo kuñu yo
         In kuu yó saá ké ndaku koo yó

Yaa yo’o ké nda kata ndi’i iní saá kuñu yuvi. Ndia kii vichin ra xíta kuñu yo ñá, saá ké kúndáini yo ña síín kú yó nuu kití, a nuu ná na nixíín ndakaka ndichi.

Ni xini va tákúú ndi’i kití kumi xa’a rí xitondie’é tákúú ndi’i ña kuu saá yó’o ra, ni ndákaka ndichi ri. Ni ni xín rí kata rí chi ndié ní lo’o kúka’an nuu ri chi. Yu’ú ra ña kuva’a kaxi ñá’a va kú ña, suvi ñá kata ké. Ni xín rí ndanama rí ndaki’in rí kuxiyo mií rí tákua ndúkú rí ña’a kaxi ri ra ñakan kú yaa va ña.

Na yuvi ra té xáto’ó na tákúú ndi’i kuñu ra va’a va kána chun; ndísu té xá’á xini kundasí tá’án ña xí’ín xa’a ra xá’á ña kútíáa ña nuu tá’án ña ra, saá ké ndúú ña tá kití ñani kuachi ña rí nixín ndakaka ndichi va.


Ra ndaxicóni tu’un kú Florentino Solano.

Diphetogo Tsa Tlhamalalo* Kgotsa Goreng Batho Ba Tsamaya Ba Tlhamaletse


Setswana

Keabetswe Motlhodi

(Ya ga Mũmbi W Ngũgĩ, Xmas 2015 @ Irvine, California, e ranolotswe go tswa go the Gikuyu ka mokwadi)

Bogologolo tala batho ba kile ba bo ba tsamaya ka maoto le matsogo, fela jaaka diphologolo tsa maoto a mane tse dingwe. Batho ba ne ba le lebelo go gaisa mmutla, nkwe kgotsa tshukudu. Matsogo le maoto di ne di bapile go feta dirwe tse dingwe: di ne di na le ditokololo tse di nyalanang tse di tshwanang magetla le dinoka; dikgono le mangole;le mangwejana le magwejana, dinao le diatla, nngwe le nngwe e felela ka menwana e metlhano ya matsogo le ya maoto, ka dinala mo monwaneng mongwe le mongwe. Diatla le dinao di ne di na le thulaganyo e e tshwanang ya menwana e metlhano ya maoto le ya matsogo go simolola ka menwana ya kgenetswe go fitlha ka e mennye. Mo matsatsing ao monwana wa kgenetswe wa letsogo o ne o bapile le menanwa e mengwe, go tshwana fela le ya maoto. Maoto le matsogo a ne a bitsana bontsala.

A ne a thusana go isa mmele gotlhe mo o neng o batla go ya teng; ko marekelong, mabenkeleng, go tlhatlhoga le go fologa ditlhare le dithaba, gongwe le gongwe ko go neng go batlega motsamao. Tota le mo metsing, a ne a dirisana mmogo sentle go thusa mmele go kokobala, go thuma kgotsa go ithabuetsa. Kamano ya ona e ne e le ya tekatekano. A ne a kgona le go adima bokgoni jwa dirwe tse dingwe, jaaka modumo go tswa kwa molomomg, kutlo go tswa kwa ditsebeng, go nkga go tswa kwa nkong, mme tota le pono go tswa kwa matlhong.

Morithito wa tsona le thulaganyo e e tlhololo di ne tsa jala lefufa mo dirweng tse dingwe. Di ne di le kgatlhanong le go adima botswerere ba tsona go bontsalaa bona. Lefufa le ne la di sirela ntlha ya gore maoto le matsogo a di isa gotlhe. Di ne tsa simolola go epa lemena kgatlhanong le bobedi bono.

Leleme le ile la adima leano go tswa go Boboko mme la le tsenya tirisong ka gangwe. Le ne la simolola go ipotsa, le goeleditse, ka ga maatla a matsogo le maoto. Ke mang yo a neng a le maatla go gaisa, la ipotsa. Bontsala ba babedi ba ditokololo, bao ba neng ba ise eke ba itshwenye ka se o mongwe a nang naso kgotsa a kgonang go se dira, jaanong ba adimile modumo go tswa go molomo mme ba simolola go bua fa ba le botlhokwa go mmele go feta ba bangwe. Seno se ile sa fetoga ka pele go nna gore ke mang yo o montle go gaisa; matsogo a theta ka gore a na le menwana e metelele e mesasane, mme ka yone nako eo a kgoba menwana ya maoto ka gore e mekhutshwane gape e le mekima. Ka e sa batle go gaisiwa, menwana ya maoto ya ikarabela ka go kgoba menwana ya matsogo e mesesane, bontsala ba ba bolawang ke tlala! Seno se tsere matsatsi, ka dinako dingwe se ama bokgoni ba ona go dira mmogo sentle. E feleleditse e le kgang ya thata, mme ba ya go dirwe tse dingwe go bona tsereganyo.

E ne e le Leleme yo o tlhagistseng kgaisano. Botlhe ba dumalana fa e le leano le lentle. Fela ya eng? Bangwe ba tlhagisa kgaisano ya go kampana- kampano ya leoto le letsogo. Bangwe ba re motshameko wa tšhaka, diketo, metabogo kgotsa go tshameka metshameko e e tshwanang le chess le morabaraba mme nngwe le nngwe ya ganelwa ka gobo e le thata go tshamekiwa kgotsa e tla gobelela serwe se sengwe. E ne e le Leleme gape, morago ga go adima kakanyo go tswa go Boboko, yo o tlileng ka tharabololo e e bonolo. Bobedi bongwe le bongwe jwa dirwe bo tla bona tšhono ya go tlhagisa kgwetlo. Matsogo le maoto a dumela.

Kgaisano ya tshwarelwa mo sekgwa se apogang teng, gaufi le noka. Dirwe tsotlhe di ne di le malalaalatswe go ela tlhoko kotsi kgotsa sengwe se tshoganyetsang mmele, ka jaanong dirwe tse dingwe di ne di tshwere maragana teng a bana ba mpa. Matlho a ne a latlhela bofofu kgakala le bophara go bona kotsinyana e e ka tswang gongwe le gongwe; ditsebe tsa itshiamisetsa go utlwa le fa e le mokgwasa o tswang bokgakala bofe, nko ya itshiamsetsa go dupelela monkgo wa kotsi e e falotseng matlho a a kelotlhoko le ditsebe tse di bogale; mme leleme le ne le ipaakanyditse go goeletsa, kotsi.

Phefo ya gasama dikgang tsa kgaisano go dintlha tse nne tsa sekgwa, metsi le loapi. Diphologolo tse di maoto mane di ne di le magareng ga tse di gorogileng pele, bontsi jwa tse digolo di tshwere makala a matala go supa fa di tlile ka kagiso. E ne e le boididi jo bontle jwa Nkwe, Lengau, Tau, Tshukudu, Phiri, Tlou, Thutlwa, Kamela, Kgomo le Kubu, Phala, Tshepe, Mmutla, Lerunya le Tadi. Ditshedi tsa Metsi, Kubu, Tlhapi, Kwena, tsa ala dikarolo tsa tsona tse di kwa godimo mo losing la noka, mme dikarolo tse dingwe di le ka fa gare ga noka. Bomaoto mabedi, Ntšhwe, Kgaka, le Phikoko ba opa diphuka tsa bona ka boitumelo, dinonyane tsa tswirinya mo ditlhareng; Tsiritsiri ya opela nako e yotlhe. Segokgo, Seboko, Mositlhaphala, Sebokolodi tsa gagaba mo fatshe kgotsa mo ditlhareng. Lebodu la tsamaya ka nyanyaelo, ka kelotlhoko, le iketlile fa Mokgantitswane o ne o tabogakaka, o sa nnisege. Kgabo, Tšhimpanse, Korela , di tlolatlola mo dikaleng. Tota le ditlhare le ditlhatsana, di ne di faapanela go ebela go tswa kwa letlhakoreng le lengwe go ya go le lengwe, go oba ditlhogo le go ema tsi.

Molomo wa bula kgaisano ka pina:

    Re dira seno go itumela
    Re dira seno go itumela
    Re dira seno go itumela
    Gonne rotlhe
    Re tswa tlhagong e le yosi.

Letsogo le Maoto tsa ikana go amogela botšo ka bopelontle; go sena manganga, matshosetsi a go ngala kgaisano, ditshupetso kgotsa go goga dinao.

Matsogo a rebola kgwetlo ya ntlha: Ba latlhela legonyana mo fatshe. Leoto, la molema kgotsa moja, kgotsa oo mabedi, a ne a tshwanetse go sela legonyana go tswa fa fatsshe mme a le konope. Maoto a mabedi a ne a ka buisana ka nako nngwe le nngwe mo kgaisanong mme a romele menwana, ka bongwe kgotsa otlhe, ka thulaganyo efe kgotsa efe go fitlhelela tiro ya ona. A lekile go le fetola, go le kgarametsa, a leka dilo tse di farologaneng mme a palelwa ke go le sela sentle: mme ha e le go le sutisa teng, se a kgonneng go se dira bogolo e ne e le go le ragela kwa ka sekgalanyana. Ya re go bona se, Menwana ya Matsogo ya adima modumo go tswa go molomo mme ya swa ka ditshego. Matsogo, mogwetli, a ne a ikgantsha ekare a mo kgaisanong ya bommabontle, a bontsha ditebego tsa ona tse di sesane, mme ka ditsela tse di farologaneng a sela legonyana. A e konopela kgakala mo sekgweng, mme ka seo a gapa maikutloa baigaisani le babogedi gore ba bo ba sise dipelo. A ne a supa bokgoni jo bongwe: a sela santanyana mo sekotlolong sa reisi; a fololela dinnale; a dira maotwanakgogisi a go sutisa magong a a bokete; a dira marumo mme a a konopela kgakajana, ditiro tse go menwana ya maoto e leng dijo tsa ditoro. Maoto a ne a dutse fela a bogetse pontsho ya botswerere le go obega ga bontsala’abona ba ba sesane. Diatla tsa babogedi tsa opela kwa godimodimo ka kgatlhego le go nna seoposengwe le matsogommogo le ona, mme se sa utlwisa maoto botlhoko ba ntho. Mme a ne a sa tle go ineela: le fa a ne a dutse a tlhomola pelo, menwana ya kgenetswee e taka didikwenyana mo santeng, e leka go nagana kgwetlo e fenyang.

Kgabagare ya nna tšhono ya mato le menwana ya one go ntsha kgwetlo. Ya bone, ga a e tlhalosa, e ne e le bonolo. Matsogo a tshwanetse go tshola mmele otlhe go tloga karolong e nngwe ya sedikwe go ya go e nngwe. A kgwetlho ya bomatla, menwana e e iponang ya akanya. Go ne go tla leba yo o sebete. Sengwe le sengwe sa mmele se ne se tshwelekanyantswe. Matsogo a kgoma fa fatshe; matlho a le gaufi le lefatshe, pono ya ona e thibetswe ke bogaufi jwa ona le lefatshe, lerole la tsena ka nko le e ethimodisa, maoto le menwana ya ona a fofa mo moweng: dinao kwa godimo, babogedi ba goeletsa ba ikopelela.

    Dinao kwa godimo
    Ga go na mathata
    Latela dinao
    Ga go na mathata
    A re fofeng mo loaping

Fela ba ne ba tlhomile diatla le matsogo leitlho. Dirwe tse mo metsotswaneng e fetileng di ne di supa manontlhotlho a bokgoni, di ne di sa kgone go suta sekgalanyana. Dikgatonyana, diatla tsa goeletsa ka kutlobotlhoko, matsogo a thethekela mme a diga mmele. A ikhutsa mme a leka gape. Mo nakong e a leka go phatlhalatsa menwana go kgona go tshwara lefatshe mme menwana ya kgwenetshe ke fa e le ona fela e kgonang go otlologa. A leka semenogane mme seo sa ganelwa gonne gore se kgonege go ne go tsenyeletsa tiriso ya maoto. E ne e le tšhono ya menwana ya maoto go tshega. Ya adima medumo e boteng ya kgokgotso go tswa go molomo go farologanya setshego sa yona go tswa go se se sesane se se dirisitsweng ke menwana ya matsogo. Ya re go utlwa lonyatso, matsogo a ne a tenega mme a dira maiteko a bofelo go tshola mmele. Maiteko ano a folola. Ka letsapa le legolo matsogo le menwana ya itlhoboga. Maoto a ne a itumelela go bontsha manontlhotlho a ona mo diateletiking: A tshwaya nako, a sasanka, a taboga, a tlolakaka ntle le go diga mmele le ha e le gangwe. Maoto a babogedi botlhe a ne a tampatampa mo fatshe go supa kgatlego le gore ba seoposengwe. Matsogo a emisa diatla go supa kemokgatlhanong ya boitshwaro jo eseng jwa botshameki, a lebetse fa e le ona a simolotseng tshameko eno.

Mme botlhe, go akaretsa babogedi, ba lemoga sengwe se se sa tlwaelegang ka matsogo: menwana ya kgwenetshe e e neng e taologile fa matsogo a ne a leka go tshola mmele, e ne e ntse e itlhaotse mo menwaneng e mengwe. Dirwe tsa boganetsi di ne di santse di re di tswelela go tshega fa di lemoga sengwe gape, monwana wa kgwenetshe o tlhaotsweng o ne o sa tlhokise diatla bokgoni, o ne o tokafaditse thata ya tsona ya go tshwara le go tlamparela. Ke eng se? Bogwele bo fetogile go nna thata ya bokgoni!

Kganetsano magareng ga dirwe go swetsa gore mofenyi ke mang e tsweletse ka matsatsi a le matlhano, palo ya menwana mo letsogong le leotong lengwe le lengwe. Matsapa a bona ya bo e le a bophokojwe, ba palelwa ke go bolela mofenyi gonne dirwe tsotlhe e ne e le ditswerere mo go se di se dirang, go se dipe tse di ka iphetsang. Go ne ga simolola diphopholetso tsa filosofi: mmele e ne ele eng tota, tsa botsa tsotlhe, mme tsa lemoga fa mmele e le tsone tsotlhe; di ne di le seoposengwe. Serwe sengwe le sengwe se ne se tshwanetse go dira sentle gore tsotlhe di dire sentle.

Fela go thibela dikgaisano tsa mofuta ono mo isagweng le go thibela go tshwenyana, dirwe tsotlhe di ne tsa swetsa gore go tloga jaanong mmele o tla tsamaya o tlhamaletse, maoto a tsepame mo fatshe le matsogo a le mo moweng. Mmele o ne o itumeletse tshwetso mme o ne o tla letla bana go tsamaya ka matsogo le maoto gore di se lebale kwa di tswang teng. Tsa arola ditiro: maoto a ne a tla tsamaisa mmele mme fela fa a goroga kwa go iwang teng, matsogo a ne a tla dira tiro yotlhe e tlhokegang go dira kgotsa go tshwara didiriswa. Ya re fa maoto le dinao di dira tiro e boima ya go tshola, matsogo a ne a otlologa mme a dirisa bokgoni jwa ona go dira mo tikologong le go netefatsa gore dijo di fitlha kwa molomong. Molomo, kgotsa, meno a ona tota, a tla di tlhafuna a be a di romela ka mometso go ya ko maleng. Mala a ne a tla tamola molemo otlhe mme a o tshele mo dikanaleng tse di tla tsamaisang molemo go ya ko mmeleng ka bophara. Mala a tla isa masalela ko moseleng wa leswe, go tsweng moo mmele o tla a beya mo nageng kgotsa go a epela mo mmung go o nontsha. Dimela di tla gola di beele maungo, matsogo a tla kga maungo mangwe mme a a tsenye mo molomong. Ehee sedikwe sa botshelo.

Le metshameko le boitlosobodutu di ne tsa arogangwa ka matshwanedi: kopelo, go tshega le puo di ne di neilwe molomo, go taboga le kgwele ya dinao ya newa segolo maoto, beisibolo le baseketebolo di ne di tlogeletswe matsogo le fa maoto a tla bo a taboga. Mo diateletiking, maoto a ne a rena. Karolo ya ditiro e tlhamaletseng e ne ya dira mmele wa motho mokaloba wa motšhini o tshelang, o gaisa le diphologolo tse dikgolo ka se o ka se fitlhelelang ka palo le boleng.

Le fa go le jalo dirwe tsa mmele tsa lemoga gore thulaganyo ya leruri e di e fitlheletseng e ntse e ka nna ya tlisa kgotlhang. Tlhogo e e neng e le kwa mankalankaleng e ne a ka nna ya ipona fa e le botoka go na le dinao tse di neng di kgoma fa fatshe kgotsa fa e le morena mme dirwe tse di kwa tlase ga yona e le batlhanka fela. Tsa gatelela gore fa go tliwa mo taolong, tlhogo le tsotlhe tse di ka fa tlase ga yona, di a lekana. Go mametlelela seno, dirwe tsa netefatsa gore kutlobotlhoko le boitumelo jwa se le sengwe bo utluwe ke tsotlhe. Tsa lemosa molomo gore fa o re sennanne sa me, o ne o bua jaaka mmele otlhe e seng jaaka mong a le nosi.

    Tsa opela:
    Mo mmeleng wa rona
    Ga go motlhanka
    Mo mmeleng wa rona
    Ga go motlhanka
    Re a direlana
    Rona ka borona
    Re a direlana
    Rona ka borona
    Re a direlana
    Leleme lentswe la rona
    Ntshware ke go tshware
    Re aga mmele o itekanetseng
    Ntshware ke go tshware
    Re aga mmele o itekanetseng
    Kopano e ntle

    Mmogo re direla
    Mmele o itekanetseng
         Mmogo re direla
         Mmele o itekanetseng
         Kopano ke matla a rona

Seno sa fetoga Pina ya Mmele Otlhe. Mmele o e opela go fitlhelela le gompieno, mme se ke se se farologanyang batho le diphologolo, kgotsa bao ba ganneng phetogo e e tlhamaletseng.

Diphologolo tse dinao dinne di ne tsa gana phetogo eno le mororo di bone tse di di boneng. Kgang ya go opela e ne e tshegisa. Molomo o ne o diretswe go ja e seng go opela. Di ne tsa tlhama lekoko le le tshwereng setso sa ko ga Lowe la tlhago, mme tsa se fetole mekgwa le ditsela tsa tsona.

Fa batho ba ithuta go tswa go mafaratlhatlha a dirwe ba dira sentle, mme fa ba bona mmele le tlhogo e le makoko a lwantshanang, le lengwe le okametse le lengwe, ba atamela bontsalaabona ba diphologolo ba ba ganneng phetogo ya tlhamalalo..


Keabetswe Esther Motlhodi is a part-time lecturer in the School of Languages of the North West University, Vaal Triangle Campus, in South Africa, where she teaches Introduction to Language Practice. She holds a BA Honours in Language Practice from the North West University. Her Honours mini-dissertation investigated the optimal presentation of Setswana subtitles for better access to education. In June 2015 she co-presented a paper with her supervisor titled ‘Investigating the optimal presentation of Setswana subtitles for better access to education’ at the LSSA conference in Potchefstroom. She is currently registered for Masters in Language Practice, continuing to investigate the use of African Language subtitles in education. She is passionate about creating access to communication for people experiencing language barriers, a great reality in multilingual South Africa. Her research interests include African language subtitles, the reception of translation and process research. Although not her main focus currently, she has worked on translation projects as a freelance translator translating different types of texts such as children’s stories, information pamphlets, medical research forms and posters for various campaigns. She has also started writing children’s stories in Setswana, in order to expand on the Setswana literary polysystem.

“Sleep Naked” by Kampire Bahana

sleepnaked


Sleep naked, but do not sleep walk
Undress fully
Camouflage no flaws,
Give no one pause
To wonder, ponder how exactly you got those scars;
How far away you go,
Even as you call
Out her name in sleep talk.

Do not leap unconscious
Off some dream precipice.

Pour hot smoke down your throat
And don’t admit to just how high,
How tall, the fall appears.

When you dare to drop down
Do not kick awake with hypnic jerk
Lyric, rhythmical quirks.

Don’t scuffle or crawl, like puppy chasing trawler.

Do not whisper him awake
When sibilant pussycat, dark beady eyes of a bat
Bites your arm from beyond the mosquito net and
Will not let go.
Rub softly the pain that does not dissipate with the dream.
Do not whisper him awake.

Share your bed,
But only with your laptop,
Be warmed by its electric heat
Hear it count out
Its 1024 electric sheep.


Kampire Bahana (@vugafrica) lives and writes in Kampala, about this city, about Africa, music, art, resistance, love, women, culture, politics and all those other things that mean everything and nothing at once. You can find more of her writing at Vuga

Longlist for the Inaugural Jalada Prize for Literature

Prize

Prize


Longlist for the Inaugural Jalada Prize for Literature

Jalada is pleased to announce the long list of its inaugural Jalada Prize for literature. Since Jalada was started in 2013, we have consistently worked hard to ensure that African writers, regardless of age, nationality or experience, are given a chance for their voices to be heard. The prize is in recognition of these efforts, of writers from different parts of the continent and in the diaspora who are committed to reimagining the continent in fresh and interesting ways.

The inaugural Jalada Prize is offered to the best stories published in the Afrofuture(s) anthology. The award was first announced during the call for the submissions for the anthology, supported in part by Kwani Trust. We received more than a hundred qualifying submissions for the anthology, and the editors keenly selected the stories that would be published in the anthology and the bonus section. All stories underwent a thorough editorial process, and the editors have further voted for the best from this pile. The selection has been described by Richard Ali, a founding member of Jalada and one of the judges, as stories “best able to avoid the ‘self-consciousness’ that is always a danger where stories are written with a theme in mind.”

The longlisted stories comprise:

  1. “Last Wave” by Ivor W. Hartmann
  2. “eNGAGEMENT” by Richard Oduor Oduku
  3. “Discovering Time Travel” By Suleiman Agbonkhianmen Buhari
  4. “For Digital Girls Who Drink Tonic Water at the Bar When Purple Rain Isn’t Enough” By Ytasha L. Womack
  5. “Black Woman, Everybody’s Healer” by Hawa Y. Mire
  6. “Where Pumpkin Leaves Dwell” by Lillian Akampurira Aujo
  7. “Onen and his Daughter” by Dilman Dila

The poetry submissions were also of exceptional quality, and the editors have selected the following combination for consideration as “the best single line of poetry” or “best opening to a poem”.

‘We built ourselves like a Tetris town’ – Bethuel Muthee.
‘I saw fireflies in an open field in Morogoro’ – Lydia Kasese.
‘As a Tamil naiad woven of elements, we spy her whirling’ – Richard Ali.
‘Oh Bismarck, Merci beaucoup‘ – Babatunde Fagbayibo.
‘water becomes silk becomes fumes curdling’ – Okwudili Nebeolisa
‘All us kids, here and now, we know what we’re doing, no?’ Alexis Teyie.

The winners will be announced on the 31st of March, to coincide with the publication of our bonus edition of the Afrofuture(s) anthology.

The Inaugural Jalada Prize Announcement

Prize

Prize

Jalada Africa is pleased to announce the inaugural Jalada Prize for Literature. The 2015 prize has been made possible by the generous part sponsorship of Kwani Trust. The long list will be announced towards the end of February and the winner made known in March to coincide with the publication of the Bonus Edition of our Afrofuture(s) issue. For this inaugural prize, the editors will vote on a long list of seven, from which a short list of three shall be selected. Our readers may nominate in the poetry category. All stories published in the Afrofuture(s) anthology are eligible.

Jalada will award Kshs 30,000 (USD 330) to the winning story, and Kshs 15,000 (USD 220) and Kshs 10,000 (USD 110) for second and third place winners respectively. We will also feature a mini-category to award Kshs 5,000 (USD 55) to the best single line of poetry or best opening to a poem. It is the hope of the collective that this award will be offered annually, and that with support and funding, it will grow in the coming years. Stories and poems published by Jalada within any year will be eligible for the prize.

About Jalada

Jalada Africa is a pan-African writers’ collective with a mission to nurture African authors through the promotion of their writing as well as the sourcing of conditions, spaces and opportunities that benefit their writing. The project began in 2013 and consists of young writers who were brought together under the auspices of British Council, Kwani Trust and Granta magazine during the Kenya Literary Week. The collective has since successfully established itself through the publication of three online anthologies as well as partnerships with Africa’s leading writing institutions such as Kwani Trust and burgeoning creative projects such as Writivism CACE Africa.


Meet the Judges

Sofia Samatar is the author of the novel A Stranger in Olondria and winner of the John W. Campbell Award, the Crawford Award, the British Fantasy Award, and the World Fantasy Award. She co-edits the online journal Interfictions.

Richard Ali is a Nigerian novelist, poet and lawyer. He has participated in various writing workshops across the continent and in 2012, he co-founded Parresia Publishers Ltd, which went on to publish great African voices including Abubakar Adam Ibrahim and Helon Habila. He was former Editor of Sardauna Magazine and of the Sentinel Nigeria Magazine. He currently serves on the EXCO of the Association of Nigerian Authors (ANA) and on the Board of the Babishai Niwe Poetry Foundation. He is a member of the Jalada Writers Collective.

Okwiri Oduor was born in Nairobi, Kenya. Her short story, My Father’s Head, won both the 2013 Short Story Day Africa Feast, Famine and Potluck story contest and the 2014 Caine Prize for African Writing. Her work has appeared in various journals and anthologies in Africa, the United Kingdom and America. She has taken up fellowships at the Macdowell Colony in New Hampshire and the OMI Ledig House in New York. She is currently at work on her debut novel.

Clifton Gachagua is the recipient of the 2013 inaugural Sillerman Prize for African Poetry. In 2013 he was longlisted for the 2013 Kwani? Manuscript Project and his debut poetry collection, The Madman at Kilifi, was published in 2014. His work has appeared in publications including Storymoja and Kwani? A founding member of Jalada Writers Collective, he is currently an editor and television scriptwriter.

Anne Moraa is a creative writer, editor, performer and all round word-obsessive. Exploring various forms, her poetry has been commissioned and performed at venues from Kenya to Scotland and she recently completed her Creative Writing (MA) in Fiction. Anne is a founding member of Jalada Writers Collective.

Kiprop Kimutai is a writer haunted constantly by his ancestors who demand to have their stories written. He was the second runner-up for the inaugural Kwani? Manuscript Project 2012/13 and his novel, “The Water Spirits”, will be published in 2014. He has also attended Chimamanda Ngozi Adichie’s Farafina workshop in 2013.

Abdul Adanis a Somali writer based in the United States. His work has appeared in Kwani?, Storytime, and elsewhere. He is currently working on a collection of stories.

Stephen Derwent Partington is a teacher and literary critic who has married into Kenya. He writes a regular literary article for Kenya’s Saturday Standard, has a light topical poem in the weekly East African, and pens a satirical piece each week for the Kenyan tabloid, The Nairobian. He also writes the occasional academic article, has had poems published in numerous ‘little magazines’, and has produced two full-length collections: SMS & Face to Face (Kenya, Phoenix) and How to Euthanise a Cactus (UK, Cinnamon). He is currently co-editing a ground-breaking collection of Kenyan poetry since 2003.

Moses Kilolo is the managing editor of Jalada, a pan-African writers’ collective. He lives and works in Nairobi, from where he also runs the affairs of the collective. His fiction and poetry has appeared, or is forthcoming in Kwani?, Story Moja and Poetry Portion, among others.


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Past Submission Guidelines

JA 04: The Language Issue

Jalada is pleased to announce a call for submissions for its fourth anthology. The anthology will be a celebration of language, featuring fiction, poetry, visual art and various essays on the very subject of Language. Writers are asked to submit original works written in their own languages and provide an accompanying English translation. We also ask writers to feel free to treat Language as a theme, where language can be a character, a topic in a story or even incorporate languages other than English as the theme in the story. Writers may also write in English or various Englishes.

Submissions will be received between April 15th and July 15th 2015 and the anthology will be published in September 2015.

Unsolicited submissions send after the deadline will be considered for the Bonus Edition of the anthology.


The specific guidelines for each category are provided below:

Fiction

Each writer may submit up to a maximum of three works of short fiction or excerpts. Each piece should be no more than 5000 words. Translations of original or published pieces are welcome, and these need to be accompanied by a brief abstract in English. Pieces should be formatted as follows: 2.0 spacing, 12 Font Times New Roman.

Poetry

Jalada will accept poems in any language, which if not in English will be accompanied by an English translation. Please send no more than three poems that do not exceed 10 pages. All poems by a single author have to be sent in one attachment, with each poem clearly marked. Pieces should be formatted as follows: 2.0 spacing, 12 Font Times New Roman.

Essays

Jalada welcomes scholarly and critical essays on the subject of Language and or translation. We extend this category to also include travelogue and memoir. All Essays must be in English, and must not extend beyond 7000 words. Pieces should be formatted as follows: 2.0 spacing, 12 Font Times New Roman.

Visual art submissions.

Artists should submit 2 copies of any piece of art, for web and for print.

  • Web:
    Resolution: 72-150dpi
    min size: 1024×768
    format: JPG
    Colour space: RGB

  • Print:
    Resolution – 150 – 300 dpi
    min size: A5
    format: TIFF/PDF
    Colour space: CMYK

Each piece of art should include the following information: title of piece, year created (and if the artist feels it necessary, a short contextualising/descriptive text).

This category will also include all submissions that present language in a visual manner, from typographic poems and posters to all other forms of text and display typography.


Note:

  1. Submissions will be received between April 15th and July 15th. All accepted submissions will be notified by July 30th.

  2. All submissions must be sent to submit@jalada.org

  3. Each story has to be sent as a separate Microsoft Word attachment, in the .doc format (no PDFs) and clearly labeled with the story title and the names of the writer and/or translator.

  4. Make sure to include the word, “Language” in the subject line of your email.

  5. Each submission must contain the title of your piece and word count.

  6. Where applicable, the submission must contain both the original piece and the translation.

  7. All submissions must be accompanied by a biographical note, written in third person, and no more than 100 words in length.

  8. All submissions must be previously unpublished, except for the case of translations where the source text may have appeared elsewhere.

  9. Visual artists are welcome to submit their work.


On paying for submissions: Jalada as a writers’ collective is still young and relies on the voluntary labor and generosity of its members. As such we are currently unable to pay writers for accepted submissions. However, we are happy to announce prizes in the form of book hampers for the editors’ top picks from the story, poem, essay and visual arts submission categories.

Jalada shall be awarding the following book hampers to the top submission in each category:

Fiction Hamper:

Dust by Yvonne Adhiambo Owuor
There Is a Country: New Fiction from the New Nation of South Sudan edited by Nyuol Lueth Tong
We Need New Names by NoViolet Bulawayo
Africa39 edited by Ellah Allfrey
Shadows by Novuyo Rosa Tshuma
Kintu by Jennifer Nansubuga Makumbi
Penumbra by Songeziwe Mahlangu

Poetry Hamper:

Cemetery of Mind by Dambudzo Marechera
The Penguin Book of Modern African Poetry, 5th Ed. edited by Gerald Moore and Ulli Beier
Mad Man at Kilifi by Clifton Gachagua
A Season for All Things by Daola Mabogunje
Turn Thanks by Lorna Goodinson
The Rose that Grew from the Concrete by Tupac Shakur
State of the Nation: Contemporary Zimbabwean Poetry edited by Tinashe Mushakavanhu, John Eppel and David Nettleingham

Non-Fiction Hamper:

The Devil that Danced on the Water by Aminatta Forna
One Day I Will Write About This Place by Binyavanga Wainaina
Migritude by Shailja Patel
The True Story of David Munyakei by Billy Kahora
Are We the Turning Point Generation by Chude Jideonwo
There Was a Country by Chinua Achebe
Lost and Found in Johannesburg by Mark Gevisser

Visual Arts Hamper:

24 Nairobi edited by Guillamme Bonn and Nick Ysenburg (accompanied by an animated film narrative by Jimmy Chuchu)
Kenya Burning edited by Billy Kahora

Copyright: All rights remain with the writer. Individual Jalada Anthologies are all licensed under the Creative Commons (share-alike, non-commercial) licence.

Please write to letters@jalada.org if you require more information.


~~~


NOTE:

  • All submissions should be sent to submit@jalada.org
  • On paying for submissions: Jalada as a writers’ collective is still young and relies on the voluntary labour of its members. As such, we are currently unable to (but hope to, for future anthologies) pay writers for accepted submissions.
  • Copyright: All rights remain with the writer. Individual Jalada Anthologies are all licensed under a Creative Commons (Share-alike, non-commercial) licence.

Jalada Porn/Sex Anthology

  • Editors: Orem Ochiel, Anne Moraa, Kate Hampton.
  • Poetry Editor: Clifton Gachagua.
  • Kiswahili editors: Ndinda Kioko and Clifton Gachagua of Jalada Africa.
  • Word-count per piece: 1000-1500 words.
  • Send submissions to: submit@jalada.org
  • Make sure your e-mail subject line begins with the word “Sex:” or it might be missed altogether as submissions are retrieved by the Editor.
  • Make sure your submission contains a title, author’s name, author’s e-mail, word-count.
  • You may submit as many as 3 pieces. If you receive a rejection you are encouraged to submit a different piece.
  • Submitted pieces in English may be poetry/prose preferably formally innovative/experimental.
  • Submitted pieces in Kiswahili may be poetry/prose.
  • Visual artists are also welcome to submit work.
    – For May anthology: The Editor will receive pieces between 17th Feb, 2014 and 30th March, 2014.

JASex Bonus

  • Editors: Mehul Gohil, Tuelo Gabonewe

Jalada Anthology 01: Afrofuture(s) (sponsored by Kwani?)

Jalada is pleased to announce a call for submissions for its second anthology. Jalada seeks writing and visual art that is formally innovative, imaginatively daring, and centred on the genres of Afrofuturism and AfroSF. Writers are encouraged to deploy the tools and subvert the techniques of science fiction and speculative fiction. Writers might imagine (but should not be constrained by) African futures in the contexts of slavery, colonialism, liberation, race and ethnicity, imperialism, postcolonialism, globalisation, Empire, ecocritique, class struggle, gender struggle, technology, and magic. Guidelines for submissions:

  • Deadline: 15th 30th March June July, 2014.
  • Send submissions to: submit@jalada.org
  • Editors: Abdul Adan, Anne Moraa, Clifton Gachagua, Kiprop Kimutai, Moses Kilolo, Okwiri Oduor, Richard Ali, Sofia Samatar.

  • Poetry Editors: Stephen Derwent Partington, Clifton Gachagua.

  • Kiswahili Editors: Ndinda Kioko, Clifton Gachagua.

Kwani Logo

Kwani? has generously offered to sponsor a modest cash prize for the three best stories in the anthology: USD 170 / KES 15,000 (1st prize), USD 113 / KES 10,000 (2nd), USD 56 / KES 5,000 (3rd)*.

  • 1 USD = 87.9500 KES (Mid-market rates: 2014-05-26 19:10 UTC)

Note: Specifications for visual art submissions.

Artists should submit 2 copies of any piece of art, for web and for print.

  • Web:
    Resolution: 72-150dpi
    min size: 1024×768
    format: JPG
    Colour space: RGB

  • Print:
    Resolution – 150 – 300 dpi
    min size: A5
    format: TIFF/PDF
    Colour space: CMYK

Each piece of art should include included the following information: title of piece, year created (and if the artist feels it necessary, a short contextualising/descriptive text).


“Sublimation” by Bethuel Muthee

sublimation


Sublimation

Tired of dying light and shadows,
An escape we thought warmed
Evenly all our frost.

Dealing and losing at Solitaire
A bright casino with old men
Confines me to a screen

She waved. I caught it
And waved back to a photo of her
On her throne.

Between us, silence and reflections
Of glances. Walking out and
Dressing in their masks.


Pardon Me

It was meant to be polite.
That chocolate melting,
Loving how you said it:
E-ce-lair.

Putting it on.
Pardon me.
Pick up the call.
Accident. Frantic.

Formless floating.
Watching our reflections
Those withered names.
Thank you for your loss.

Focus.
Pardon me.
Screams and encroaching blur.

An exclamation with invitations mountainside.
That landscape.
Howl back.
Presences with end.


Gone

Men of dreams.
A new understanding of ghosts.

The same day you want to gouge out your eyes:
A blind man tapping across the road as a lorry flies his way.

What do you see now?

The 45 rolls on,
Day 45 of stasis.

Who took those photographs?
Pretty posters of souls on sale.

What does stopping to love mean?
That crooning. They kill her every time.

The search is honest:
The truth is dumb.

Gone gone men.

A series of paintings:
Eyes. A hand. Love hearts.

You have to remember he said.
Memories of a future lived too soon.

A smile:
Maria.

Idols burning themselves up,
Smell of incense and fighting to hold on.

Let me learn the drugs of my city.
My drug.

Let men fight –
Museums for your disappearance.

Conversations with half-ghosts,
A photograph: a negative print.

That sound
The echo of who you were.

Gone.


Modulation

Maybe because we rinsed our mouths
With paint water –
Love spitting out lies.

What I heard:
Tone down on heart.

Making up videos in our heads:
A disco tune and ashtrays.
Blowing away – tap! tap!

Home is not a place anywhere, he said.
Word went round.
A photo and a prayer.
Damn he blew way.

Getting lost in holes.
That man has written my city,
It crawls on you: an aftertaste.
Everything goes in slant
Walking with one hand on the ground.


Untitled

They take their time trying to fix time – real slow –
To teach Absence how punctual how punctual she has to be.
Floating above, shuffling days like a deck of cards
Dealing out appearances to each player.

A party, a daily celebration – a feast of fools.
Hovering fools and foolish hearts.
Back to the beginning, an origin –
Night and day become one;

Heaven swallowing itself, clouds drawn in with a slurp;
Twinkling death; thunder burped as an afterthought.
A fiery sermon continues
When two sevens clash.

This beginning of elevation,
Suspension from earth or fire: happy songs.
Tunes that drown an end
When frozen cockerels attempt a crow.


Mornings are for thinking of growing up.
Nights are for escape,
Nights are for the birth of joy.

Keep the Lost Weekend as bedside bible.
Never read it. It is a reminder –
Like a Bible.

Your mind. You’re walking around the room,
I’m watching you.
A beer for two.

I don’t know your existence.
Your eyes say disappear.
We smile and know the truth.

It never was a simple good-bye.
You hate simplicity
So you said – no dying – every time.

We built ourselves like a Tetris town,
Fit the pieces in
Then watch the bottom crumble.


Bethuel Muthee is a Kenyan poet.