African Poetry Book - Böcker

Clifton Gachagua's collection Madman at Kilifi, winner of the Sillerman First Book Prize for African Poets, concerns itself with the immediacy of cultures in flux, cybercommunication and the language of consumerism, polyglot politics and intrigue, sexual ambivalence and studied whimsy, and the mind of a sensitive, intelligent, and curious poet who stands in the midst of it all. Gachagua's is a world fully grounded in the postmodern Kenyan cultural cauldron, a world in which people speak with "satellite mouths," with bodies that are "singing machines," and in which the most we can do is "collide against each other." Here light is graceful, and we glow like undiscovered galaxies and shifting matter. And here as well, we find new expression in a poetry that moves as we do.

Kofi Awoonor, one of Ghana's most accomplished poets, had for almost half a century committed himself to teaching, political engagement, and the literary arts. The one constant that guided and shaped his many occupations and roles in life was poetry. The Promise of Hope is a beautifully edited collection of some of Awoonor's most arresting work spanning almost fifty years.  Selected and edited by Awoonor's friend and colleague Kofi Anyidoho, himself a prominent poet and academic in Ghana, The Promise of Hope contains much of Awoonor's most recent unpublished poetry, along with many of his anthologized and classic poems. This engaging volume serves as a fitting contribution to the inaugural cohort of books in the African Poetry Book Series.

Winner of the Sillerman First Book Prize for African Poets, The Kitchen-Dweller's Testimony asks: Whose testimony is valid? Whose testimony is worth recording? Osman's speakers, who are almost always women, assert and reassert in an attempt to establish authority, often through persistent questioning. Specters of race, displacement, and colonialism are often present in her work, providing momentum for speakers to reach beyond their primary, apparent dimensions and better communicate. The Kitchen-Dweller's Testimony is about love and longing, divorce, distilled desire, and all the ways we injure ourselves and one another.

Winner of the Sillerman First Book Prize for African Poets, Ethiopian American Mahtem Shiferraw's Fuchsia examines conceptions of the displaced, disassembled, and nomadic self. Embedded in her poems are colors, elements, and sensations that evoke painful memories related to deep-seated remnants of trauma, war, and diaspora. Yet rooted in these losses and dangers also lie opportunities for mending and reflecting, evoking a distinct sense of hope. Elegant and traditional, the poems in Fuchsia examine what it means to both recall the past and continue onward with a richer understanding.

Gabriel Okara, a prize-winning author whose literary career spans six decades, is rightly hailed as the elder statesman of Nigerian literature. The first Modernist poet of anglophone Africa, he is best known for The Fisherman’s Invocation (1978), The Dreamer, His Vision (2005), and for his early experimental novel, The Voice (1964).               Arranged in six sections, Gabriel Okara: Collected Poems includes the poet’s earliest lyric verse along with poems written in response to Nigeria’s war years; literary tributes and elegies to fellow poets, activists, and loved ones long dead; and recent dramatic and narrative poems. The introduction by Brenda Marie Osbey contextualizes Okara’s work in the history of Nigerian, African, and English language literatures. Gabriel Okara: Collected Poems is at once a treasure for those long in search of a single authoritative edition and a revelation and timely introduction for readers new to the work of one of Africa’s most revered poets.

Described by African scholar and literary critic Chielozona Eze as “one of the most prolific African poets of the twenty-first century,” Patricia Jabbeh Wesley composed When the Wanderers Come Home during a four-month visit to her homeland of Liberia in 2013. She gives powerful voice to the pain and inner turmoil of a homeland still reconciling itself in the aftermath of multiple wars and destruction.  Wesley, a native Liberian, calls on deeply rooted African motifs and proverbs, utilizing the poetics of both the West and Africa to convey her grief. Autobiographical in nature, the poems highlight the hardships of a diaspora African and the devastation of a country and continent struggling to recover.  When the Wanderers Come Home is a woman’s story about being an exile, a survivor, and an outsider in her own country; it is her cry for the Africa that is being lost in wars across the continent, creating more wanderers and world citizens.

Written as a tribute to family, place, and bodily awareness, Mukoma Wa Ngugi’s poems speak of love, war, violence, language, immigration, and exile. From a baby girl’s penchant for her parents’ keys to a warrior’s hunt for words, Wa Ngugi’s poems move back and forth between the personal and the political. In the frozen tundra of Wisconsin, the biting winds of Boston, and the heat of Nairobi, Wa Ngugi is always mindful of his physical experience of the environment. Ultimately it is among multiple homes, nations, and identities that he finds an uneasy peace.

South Africa is a complicated, contradictory, and haunted place. Len Verwey captures the trajectory of life in such a place, dealing with childhood, war, marriage, divorce, and death. He explores the challenges posed by place and history, shared identities, deep embeddedness in the continent, and the legacies of violence and exclusion, as well as beauty. Verwey offers poems that speak of uncertainty, ask questions, and challenge simplistic and scapegoating narratives that become so tempting when living in a society undergoing intense social and economic pressure. Dealing less with factual or political explanations of war and more with the compulsion of war, in particular, “maleness” and violence, Verwey pulls the reader into another world, opening eyes to the “crisis of men,” the violence against women, children, and the foreign in a country where conflicts are again escalating. In a Language That You Know strives to understand the complexity of one of the most unequal, violent, yet most vibrant societies in the world.

Sillerman First Book Prize for African Poets2018 Arab American Book Award Winner, Poetry"A taut debut collection of heartfelt poems."-Publishers WeeklyIn her dedication Safia Elhillo writes, “The January Children are the generation born in Sudan under British occupation, where children were assigned birth years by height, all given the birth date January 1.” What follows is a deeply personal collection of poems that describe the experience of navigating the postcolonial world as a stranger in one’s own land.The January Children depicts displacement and longing while also questioning accepted truths about geography, history, nationhood, and home. The poems mythologize family histories until they break open, using them to explore aspects of Sudan’s history of colonial occupation, dictatorship, and diaspora. Several of the poems speak to the late Egyptian singer Abdelhalim Hafez, who addressed many of his songs to the asmarani-an Arabic term of endearment for a brown-skinned or dark-skinned person. Elhillo explores Arabness and Africanness and the tensions generated by a hyphenated identity in those two worlds.No longer content to accept manmade borders, Elhillo navigates a new and reimagined world. Maintaining a sense of wonder in multiple landscapes and mindscapes of perpetually shifting values, she leads the reader through a postcolonial narrative that is equally terrifying and tender, melancholy and defiant.

Ama Ata Aidoo is one of the best-known African writers today. Spanning three decades of work, the poems in this collection address themes of colonialism, independence, motherhood, and gender in intimate, personal ways alongside commentary on broader social issues. After the Ceremonies is arranged in three parts: new and uncollected poems, some of which Aidoo calls “misplaced or downright lost”; selections from Aidoo’s An Angry Letter in January and Other Poems; and selections from Someone Talking to Sometime.               Although Aidoo is best known for her novels Changes: A Love Story and Our Sister Killjoy, which are widely read in women’s literature courses, and her plays The Dilemma of a Ghost and Anowa, which are read and performed all over the world, her prowess as a poet shines in this collection.

The poems in Tsitsi Ella Jaji’s Beating the Graves meditate on the meaning of living in diaspora, an experience increasingly common among contemporary Zimbabweans. Vivid evocations of the landscape of Zimbabwe filter critiques of contemporary political conditions and ecological challenges, veiled in the multiple meanings of poetic metaphor. Many poems explore the genre of praise poetry, which in Shona culture is a form of social currency for greeting elders and peers with a recitation of the characteristics of one’s clan. Others reflect on how diasporic life shapes family relations.The praise songs in this volume pay particular homage to the powerful women and gender-queer ancestors of the poet’s lineage and thought. Honoring influences ranging from Caribbean literature to classical music and engaging metaphors from rural Zimbabwe to the post-steel economy of Youngstown, Ohio, Jaji articulates her own ars poetica. These words revel in the utter ordinariness of living globally, of writing in the presence of all the languages of the world, at home everywhere, and never at rest.

A collection of serial poems, Think of Lampedusa addresses the 2013 shipwreck that killed 366 Africans attempting to migrate secretly to Lampedusa, an Italian island in the Mediterranean Sea. The crossing from North Africa to this island and other Mediterranean way stations has become the most dangerous migrant route in the world. Interested in what is producing such epic displacement, JosuÉ GuÉbo’s poems combine elements of history and mythology.GuÉbo considers the Mediterranean not only as a literal space but also as a space of expectation, anxiety, hope, and anguish for migrants. He meditates on the long history of narratives and bodies trafficked across the Mediterranean Sea. What did it-and what does it-connect and separate? Whose sea is it? Ultimately he is searching for what motivates a person to become part of what he calls a “seasonal suicide epidemic.”This translation of GuÉbo’s Songe À Lampedusa, winner of the Tchicaya U Tam’si Prize for African Poetry, is a searing work from a major African poet.

Winner of the Sillerman First Book Prize for African Poets, Zimbabwean writer Bernard Farai Matambo’s poems in Stray favor a prose-shaped line as they uncover the contradictory impulses in search of emotional and intellectual truth. Stray not only captures the essence of identity but also eloquently articulates the pain of displacement and speaks to the vulnerability of Africans who have left their native continent. This collection delicately examines the theme of migration-migration in a literal, geographic sense; migration of language from one lexicon to another; migration of a poem toward prose-and the instability of the creative experience in the broader sense.

Tanella Boni is a major African poet, and this book, The Future Has an Appointment with the Dawn, is her first full collection to be translated into English. These poems wrestle with the ethnic violence and civil war that dominated life in West Africa’s Ivory Coast in the first decade of the new millennium. Boni maps these events onto a mythic topography where people live among their ancestors and are subject to the whims of the powerful, who are at once magical and all too petty. The elements-the sun, the wind, the water-are animated as independent forces, beyond simile or metaphor. Words, too, are elemental, and the poet is present in the landscape-“during these times / I searched for the letters / for the perfect word.” Boni affirms her desire for hope in the face of ethno‑cultural and state violence although she acknowledges that desiring to hope and hoping are not the same.

This dazzling debut announces a not-so-new voice: that of the spoken-word poet Tjawangwa Dema. Winner of the Sillerman First Book Prize for African Poets, Dema’s collection, The Careless Seamstress, evokes the national and the subjective while reemphasizing that what is personal is always political.The girls and women in these poems are not mere objects; they speak, labor, and gaze back, with difficulty and consequence. The tropes are familiar, but in their animation they question and move in unexpected ways. The female body-as a daughter, wife, worker, cultural mutineer-moves continually across this collection, fetching water, harvesting corn, raising children, sewing, migrating, and spurning designations.Sewing is rendered subversive, the unsayable is weft into speech and those who are perhaps invisible in life reclaim their voice and leave evidence of their selves. As a consequence the body is rarely posed-it bleeds and scars; it ages; it resists and warns. The female gaze and subsequent voices suggest a different value system that grapples with the gendering of both physical and emotional labor, often through what is done, even and especially when this goes unnoticed or unappreciated.A body of work that examines the nature of power and resistance, The Careless Seamstress shows both startling clarity of purpose and capaciousness of theme. Using gender and labor as their point of departure, these poems are indebted to Dema’s relationship to language, intertextuality, and narrative. It is both assured and inquiring, a quietly complex skein that takes advantage of poetry’s capacity for the polyphonic.

Your Body Is War contemplates the psychology of the female human body, looking at the ways it exists and moves in the world, refusing to be contained in the face of grief and trauma. Bold and raw, Mahtem Shiferraw’s poems explore what the woman’s body has to do to survive and persevere in the world, especially in the aftermath of abuse.A groundbreaking collection, the poems in Your Body Is War embody elements of conflict, making them simultaneously a place of destruction and of freedom.

Spanning more than six decades of Sudan’s post-independence history, this collection features work by some of Sudan’s most renowned modern poets, largely unknown in the United States. Adil Babikir’s extensive introduction provides a conceptual framework to help the English reader understand the cultural context. Translated from Arabic, the collection addresses a wide range of themes-identity, love, politics, Sufism, patriotism, war, and philosophy-capturing the evolution of Sudan’s modern history and cultural intersections.Modern Sudanese Poetry features voices as diverse as the country’s ethnic, cultural, and natural composition. By bringing these voices together, Babikir provides a glimpse of Sudan’s poetry scene as well as the country’s modern history and post-independence trajectory.

Named after the poet’s mother, ‘mamaseko is a collection of introspective lyrics and other poems dealing with the intersections of blood relationships and related identities. Thabile Makue questions what it means to be beings of blood-to relate by blood, to live by blood. In her poems Makue looks for traces of shared trauma and pain and asserts that wounds of the blood are healed by the same.

2021 Lambda Literary Awards Finalist In this groundbreaking collection of poems, Sacrament of Bodies, Romeo Oriogun fearlessly interrogates how a queer man in Nigeria can heal in a society where everything is designed to prevent such restoration. With honesty, precision, tenderness of detail, and a light touch, Oriogun explores grief and how the body finds survival through migration.

Keorapetse Kgositsile, South Africa’s second poet laureate, was a political activist, teacher, and poet. He lived, wrote, and taught in the United States for a significant part of his life and collaborated with many influential and highly regarded writers, including Gwendolyn Brooks, Sterling Plumpp, Dudley Randall, and George Kent. This comprehensive collection of Kgositsile’s new and collected works spans almost fifty years.During his lifetime, Kgositsile dedicated the majority of his poems to people or movements, documenting the struggle against racism, Western imperialism, and racial capitalism, and celebrating human creativity, particularly music, as an inherent and essential aspect of the global liberation struggle. This collection demonstrates the commitment to equality, justice, and egalitarianism fostered by cultural workers within the mass liberation movement. As the introduction notes, Kgositsile had an “undisputed ability to honor the truth in all its complexity, with a musicality that draws on the repository of memory and history, rebuilt through the rhythms and cadences of jazz.” Addressing themes of Black solidarity, displacement, and anticolonialism, Kgositsile’s prose is fiery, witty, and filled with conviction. This collection showcases a voice that wanted to change the world-and did.

Winner of the Sillerman First Book Prize for African Poetry, ‘Gbenga Adeoba’s collection Exodus focuses on forms of migration due to the slave trade, war, natural disasters, and economic opportunities.               Using the sea as a source of language and metaphor, Adeoba explores themes of memory, transition, and the intersections between the historic and the imagined. With great tenderness and power his poetry of empathy searches for meaning in sharply constructed images, creating scenes of making and unmaking while he investigates experiences of exile and displacement across time and place.

2021 National Book Critics Circle Award Finalist 2021 Foreword Indies FinalistWinner of the Sillerman First Book Prize for African PoetryThe poems in The Rinehart Frames seek to exhaust the labyrinths of ekphrasis. By juxtaposing the character of Rinehart from Ralph Ellison’s Invisible Man with the film 24 Frames by Abbas Kiarostami, the poems leap into secondary histories, spaces, and languages that encompass a collective yet varied consciousness of being.Cheswayo Mphanza’s collection questions the boundaries of diaspora and narrative through a tethering of voices and forms that infringe on monolithic categorizations of Blackness and what can be intersected with it. The poems continue the conversations of the infinite possibilities of the imagination to dabble in, with, and out of history.

Derek Walcott Prize for Poetry WinnerJulie Suk Award WinnerNigeria Prize for Literature shortlistYour Crib, My Qibla interrogates loss, the death of a child, and a father’s pursuit of language able to articulate grief. In these poems, the language of memory functions as a space of mourning, connecting the dead with the world of the living. Culminating in an imagined dialogue between the father and his deceased daughter in the intricate space of the family, Your Crib, My Qibla explores grief, the fleeting nature of healing, and the constant obsession of memory as a language to reach the dead.

In the face of amnesia, how does one exist? In this poem, Hawad speaks directly to Azawad, a silent figure whose name designates a portion of Tuareg lands divided among five nation-states created in the 1960s. This evanescent being, situated on the edge of the abyss and deprived of speech, space, and the right to exist, has reached such a stage of suffering, misery, and oppression that it acquiesces to the erasure implicit in the labels attached to it.Through an avalanche of words, sounds, and gestures, Hawad attempts to free this creature from the net that ensnares it, to patch together a silhouette that is capable of standing up again, to transform pain into a breeding ground for resistance-a resistance requiring a return to the self, the imagination, and ways of thinking about the world differently. The road will be long.Hawad uses poetry, “cartridges of old words, / a thousand and one misfires, botched, reloaded,” as a weapon of resistance.

There Where It’s So Bright in Me pries at the complexities of difference-race, religion, gender, nationality-that shape twenty-first-century geopolitical conditions. With work spanning more than thirty-five years and as one of the most prominent figures in contemporary African literature, Tanella Boni is uniquely positioned to test the distinctions of self, other, and belonging. Two twenty-first-century civil wars have made her West African home country of CÔte d’Ivoire unstable. Abroad in the United States, Boni confronts the racialized violence that accompanies the idea of Blackness; in France, a second home since her university days, Boni encounters the nationalism roiling much of Europe as the consequences of (neo)colonialism shift the continent’s ethnic and racial profile.What would it mean for the borders that segregate-for these social, political, cultural, personal, and historicizing forces that enshroud us-to lose their dominion? In a body under constant threat, how does the human spirit stay afloat? Boni’s poetry is characterized by a hard-earned buoyancy, given her subject matter. Her empathy, insight, and plainspoken address are crucial contributions to the many difficult contemporary conversations we must engage.

Winner of the 2023 American Book AwardLonglisted for the 2022 National Book AwardWinner of the Sillerman First Book Prize for African Poets, Sherry Shenoda’s collection Mummy Eaters follows in the footsteps of an imagined ancestor, one of the daughters of the house of Akhenaten in the Eighteenth Dynasty, Egypt. Shenoda forges an imagined path through her ancestor’s mummification and journey to the afterlife. Parallel to this exploration run the implications of colonialism on her passage.The mythology of the ancient Egyptians was oriented toward resurrection through the preservation of the human body in mummification. Shenoda juxtaposes this reverence for the human body as sacred matter and a pathway to eternal life with the sixteenth- and seventeenth-century European fascination with ingesting Egyptian human remains as medicine and using exhumed Egyptian mummies as paper, paint, and fertilizer. Today Egyptian human remains are displayed in museums. Much of Mummy Eaters is written as a call and response, in the Coptic tradition, between the imagined ancestor and the author as descendant.

Named a Notable African Book of 2023 by Brittle PaperBreaking the Silence is the first comprehensive collection of literature from Liberia since before the nation’s independence. Patricia Jabbeh Wesley has gathered work from the 1800s to the present, including poets and emerging young writers exploring contemporary literary traditions with African and African diaspora poetry that transcends borders. In this collection, Liberia’s founding settlers wrestle with their identity as African free slaves in the homeland from which their ancestors were captured, and writers of the early twentieth and twenty-first centuries find themselves navigating a landscape at odds with itself.From poets of Liberia’s past to young writers of the present, the contributors to this volume celebrate the beauty of their nation while mourning the devastation of a long, bloody civil war.

Winner of the 2023 Julie Suk AwardWinner of the 2024 Nebraska Book AwardFinalist for the 2024 National Book Critics Circle Award Finalist for the 2024 Midwest Book AwardFinalist for the 2025 Kingsley Tufts Poetry AwardShortlisted for the 2024 Derek Walcott Prize for PoetryLike I knew, standingon the seashore, the hungerwracking a migrant’s bodyis movement.-from Romeo Oriogun’s “Migrant by the Sea”The Gathering of Bastards chronicles the movement of migrants as they navigate borders both internal and external. At the heart of these poems of vulnerability and sharp intelligence, the poet himself is the perpetual migrant embarked on forced journeys that take him across nations in West and North Africa, through Europe, and through American cities as he navigates the challenges of living through terror and loss and wrestles with the meaning of home.

Loving the Dying is a collection of poems on life’s different stages. Set against the backdrop of a conflicted society, Len Verwey looks at a person’s life from youth and growing up to aging and dying, considering what the ineluctable reality of death might imply about how we should think about our lives.These are poems of uncertainty rather than certainty. The more overtly biographical ones end with as many questions as they start with, and there is often sympathy for the outsider or the marginalized voice. Varying in tone and complexity, Verwey’s poems focus on the tension between escapism and reality, truth and delusion (for individuals and societies), and the need to face death if we are to care for the aged and learn to understand the process of dying.As in his first poetry collection, In a Language That You Know, Verwey continues his effort to understand the successes and failures of the South African post-apartheid journey, with both humor and some despair.