Producing New Books and Readers: Literary Activism in 21st Century Africa

Producing New Books and Readers: Literary Activism in 21^st Century Africa
16:00 – 17:30, Saturday 7 October 2017
Conference Space at Hamilton House, 80 Stokes Croft, BS1 3QY

Speakers: Bibi Bakare-Yusuf, Edwige Dro & Henry Brefo

Chair: Madhu Krishnan

The 21^st century has seen the rise of a myriad of new literary initiatives on the African continent, from literary festivals to new writing prizes, publishing and translation initiatives to innovative book distribution outlets, podcasting to small magazines. This panel brings together literary producers involved in founding and directing influential new initiatives to discuss the agendas, structures and networks that enable the production and circulation of literature in Africa. What innovative modes of literary activism and engagement has the 21^st century enabled and how do self-defined literary activists conceive of their role in contemporary Africa?

In partnership with the Centre for African Cultural Excellence & University of Bristol’s Centre for Black Humanities

Part of Africa Writes Pop-Up: Bristol – the festival presenting an exciting series of events celebrating contemporary African literature and thought, 6-7 October. With book launches, film screenings, discussions, family activities, workshops, and a poetry night, the festival brings you a vibrant programme showcasing the best new writing from the continent and the diaspora.

from Africa Writes http://ift.tt/2wZEIHn

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The Sphere

Photograph by Elena Saavedra Buckley. Once when I was about twelve I was walking down the dead-end road in Albuquerque where I grew up, around twilight with a friend. Far beyond the end of the road was a mountain range, and at that time of evening it flattened into a matte indigo wash, like a mural. While kicking down the asphalt we saw a small bright light appear at the top of the peaks, near where we knew radio towers to occasionally emit flashes of red. But this glare, blinding and colorless, grew at an alarming rate. It looked like a single floodlight and then a tight swarm beginning to leak over the edge of the summit. My friend and I became frightened, and as the light poured from the crest, our murmurs turned into screams. We stood there, clutching our heads, screaming. I knew this was the thing that was going to come and get me. It was finally going to show me the horrifying wiring that lay just behind the visible universe and that was inside of me too. And then, a couple se...

The Private Life: On James Baldwin

JAMES BALDWIN IN HYDE PARK, LONDON. PHOTOGRAPH BY ALLAN WARREN. Via Wikimedia Commons , licensed under CC BY-SA 3.0 . In his review of James Baldwin’s third novel, Another Country , Lionel Trilling asked: “How, in the extravagant publicness in which Mr. Baldwin lives, is he to find the inwardness which we take to be the condition of truth in the writer?” But Baldwin’s sense of inwardness had been nourished as much as it had been damaged by the excitement and danger that came from what was public and urgent. Go Tell It on the Mountain and Giovanni’s Room dramatized the conflict between a longing for a private life, even a spiritual life, and the ways in which history and politics intrude most insidiously into the very rooms we try hardest to shut them out of. Baldwin had, early in his career, elements of what T. S. Eliot attributed to Henry James, “a mind so fine that it could not be penetrated by an idea.” The rest of the time, however, he did not have this luxury, as pub...

The Rejection Plot

Print from Trouble , by Bruce Charlesworth, a portfolio which appeared in The Paris Review in the magazine’s Fall 1985 issue. Rejection may be universal, but as plots go, it’s second-rate—all buildup and no closure, an inherent letdown. Stories are usually defined by progress: the development of events toward their conclusions, characters toward their fates, questions toward understanding, themes toward fulfillment. But unlike marriage, murder, and war, rejection offers no obstacles to surmount, milestones to mark, rituals to observe. If a plot point is a shift in a state of affairs—the meeting of a long-lost twin, the fateful red stain on a handkerchief—rejection offers none; what was true before is true after. Nothing happens, no one is materially harmed, and the rejected party loses nothing but the cherished prospect of something they never had to begin with. If the romance plot sets up an enticing question—Will they or won’t they? — the rejection plot spoils everything upfront:...

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