preliminary list Zimbolicious 4

ZIMBOLICIOUS 4: An Anthology of Zimbabwean Literature and Arts

PRELIMINARY LIST

Nonfiction

Screw the Zimbabwean!: Tendai R Mwanaka

The philosophies of negativity of home as captured by poetry in the 21^st Century: Tinashe Muchuri

Eppel explores ‘unbelonging’ in new work: Between the Lines: Beniah Munengwa

Confessions of a book reviewer and writer: Tanaka Chidora

Chinodya’s Queues still mirrors Zim’s problems 15 years later: Between the Lines: Beniah Munengwa

My Silent Grandmother: Tembi Charles

The Poet’s Revenge To No One Who Buys Poetry Books: Tendai R Mwanaka

Poetry

THE SAVAGE HUNTER: Nicholas M. Mwanaka

First African Woman: Beniah Munengwa

Officed in farts: Clesirdia Nzorozwa

The wolf in this sheep must hang!: Clesirdia Nzorozwa

Slaughter House: Clesirdia Nzorozwa

MEETING AN OLD FRIEND: Kabelo Sithole

Poisoned: Michael White

R.T.G.S.: Mandhla A Mavolwane

Head or Tail?: Mandhla A Mavolwane

True Lies: Mandhla A Mavolwane

In the name of the Father: Osman Shato Mbindi

The Draconian Crown: Osman Shato Mbindi

Dead dad: Osman Shato Mbindi

Ndakada moyo: naTinashe Muchuri

Her heart took me away: Tinashe Muchuri

Vanhu vanhasi here!: naTinashe Muchuri

People of today!: Tinashe Muchuri

Withering Home: Trust Mauyasva

This Thing Called evoL: Trust Mauyasva

Chasing Royalty: Trust Mauyasva

Children in the stones: Troy Da Costa

Tear Drop Diamonds: Troy Da Costa

The Wheel of Clay: Troy Da Costa

THE OTHER SIDE OF THE COIN: Andrew Huje

I TOOK A BUS: Andrew Huje

MIDNIGHT PATROL: Andrew Huje

that stain: Jabulani Mzinyathi

so take heed: Jabulani Mzinyathi

the same dog: Jabulani Mzinyathi

MY FATHER'S BIRTHMARK: Prosper Kavunika

DUAL CITIZEN: Prosper Kavunika

Borrowed time: Nicole Vimbai Kazembe

Screaming Eyes: Nicole Vimbai Kazembe

WANDERING THE STREETS: Pardon. Sikula. Moyo

THE FADING MOON: Pardon. Sikula. Moyo

THE FEMALE VERSION: Ruvimbo Mafukidze

RIP CHARLES MUNGOSHI: Ruvimbo Mafukidze

WHO AM I^???: Sheila Banda

CAN’T CROSS BURNT BRIDGES: Sheila Banda

To an absent father: Tapuwa Mwedzi

Munhandare yeupenyu: Tapuwa Mwedzi

An Interview with Philani  A. Nyoni: Jabulani Mzinyathi

How I Became Spartacus: Philani  A. Nyoni

Chimanimani: Philani  A. Nyoni

Nadir: Philani  A. Nyoni

Fiction

Noah’s  Ark: Sheila Banda

The unknown b: Mushumbi Aaron F

Seven: Matthew K Chikono

STRANGE THINGS HAPPEN: Christopher Kudyahakudadirwe

VISUAL ART

Exams and Blooming Jacarandas: Victor Gordon Musara

rains (2017): Victor Gordon Musara

living in the moment (October 2017): Victor Gordon Musara

Muchena Mountain: Godfrey Sagotora

The Gravel Maker: Tendai R Mwanaka

Registers of Loss: Tendai R Mwanaka

Near Ngundu Halt: Nicky Roselli

The Climb: Nicky Roselli

The Rain God: Sally Scott

Chimanimani Aloe: Sally Scott

Nyangui Aloes: Sally Scott

Road to Mana: Anthony Stidolphi

Rukotso, Nyanga: Anthony Stidolphi

Birchenough Bridge: Kudakwashe Nhevera

Vakomana Vemvura: Kudakwashe Nhevera

The Artfarm: Kudakwashe Nhevera

Musical Horse: Tendai R. Mwanaka

Zimbolicious Anthology, Volume 3

CALL FOR SUBMISSIONS

Zimbolicious Anthology, Volume 3:

An Anthology of Zimbabwean Literature and Arts

Following the successful publication and critical reception of Zimbolicious Poetry: Anthology of Zimbabwean Poetry, and Zimbolicious Poetry Anthology, Volume 2, we have decided to continue with the series of Zimbolicious Anthologies. We are open to experienced and young poets, storytellers, novelist, essayists (academic and general), playwrights, visual artists, songwriters (the first anthology had poems from David Mungoshi, Ivor Hartman, John Eppel, Emanuel Sigauke, Tinashe Muchuri, Cosmas Mairosi, Mbizo Chirasha, Tendai Mwanaka, Catherine Mugodo Mtukwa… and several budding poets. The second volume had poems from Albert Nyathi, Edward Dzonze, Shoes Lambada, Killian Mwanaka, Mbizo Chirasha, Constance Van Nierkek… and several young poets)

As we expand this anthology series to harness as much as we can about Zimbabwean literature and arts, we have decided to include several new sections, i.e. Primary School Section (Zimbabwean primary school children, upto grade 7), High School Section (from form 1-6), Professional Arts Section, Reviews and Interviews Section, not only these but we are now open for the first time to visual artists, songwriters, fictionist, playwrights, essayists, mixed genres etc. The idea is to engender writing and reading cultures right from the lower grades so that in the future we will have strong leadership, readership and writership culture. There are a lot other programmes we are working on around this anthology, we will announce later.

The anthology will be published by Mwanaka Media and Publishing Pvt Ltd http://www.africanbookscollective.com/publishers/mwanaka-media-and-publishing, a Zimbabwe based newly formed publisher, and distributed by African Books Collective, UK, http://www.africanbookscollective.com, who have distribution links with scholarly and public libraries throughout the world including among others, Worldcat Identities, John Hopkins’ project muse, ebsco host etc, which has resulted in the previous two volumes being collected in university libraries like Harvard, Princeton, Yale, University of Chicago, and New York City Public Library etc. The facebook page of the series is here: https://m.facebook.com/Zimbolicious-Poetry-Anthology-513910842136938/?ref=bookmarks

Unlike the previous two offerings, this third volume will also be published and printed in Zimbabwe. We will be offering free contributor copies to all those we select to publish in this volume, to be collected in Harare.

We are looking for work in all Zimbabwean indigenous languages and cultures (Chewa, Chibarwe, Kalanga, Koisan, Nambya, Ndau, Ndebele, Shangani, Shona, Sotho, Tonga, Tswana, Venda and Xhosa) and English language. For literature, the indigenous languages entries should be accompanied with an English translation/interpretation. We prefer short pieces but we will read long pieces and will include some in the anthology.

Send us your best work.
1 Not more than 3 poems/songs per poet/songwriter.
2 One prose, play, mixed genre piece per entrant of not more than 5 000words
3 Not more than 3 artworks per an artist (each artwork must be accompanied by not more than 500 words description)
4 As for reviews please send less than 2 000 words reviews of any Zimbabwean writer or artist’s work (preferably full length collections or a body of work) of your own choice. These should be published, exhibited or recorded artworks/writings!
5 Interviews will only be selected from those we have previously published, which we have posted on our blog page!
6 Also include a bio note of not more than 50 words about the author to be published with their work, if selected.


This is a strictly a Zimbabwean anthology, so we will only read and consider work from citizens of Zimbabwe and her diasporas (parents are of Zimbabwean descent).

Send your work to Tendai R Mwanaka at mwanaka@yahoo.com

Deadline for entries is 31 July 2018

Conversations with John Eppel

An Interview with John Eppel


1: Describe yourself in five words? 
A left-handed European African.

2: What is your most treasured possession?
I can’t say my children because they aren’t possessions so I’ll settle for my house in Bulawayo.

3: Do you have any strange hobbies?
Yes: listening to historical recordings of opera.

4: What is your greatest fear?
My children and grandchildren getting hurt.

5: What were you like at school?
Uninterested.

8: What are you doing next?
Working intermittently on another novel.

9. Your ex-wife was involved in poetry earlier. How much did you inspire each other back then?
I don’t know if ‘inspire’ is the right word but we certainly supported each other in our creative efforts.  Shari was the first Zimbabwean poet to publish a piece on the Fifth Brigade atrocities, a poem called ‘Bhalagwe’, which was published in the first of ‘amaBooks’ ‘Short Writings’ series.  That was extremely brave of her.

10. Can you tell us about your initial encounters with poetry, and initial impressions with writing? What traditions and cultures, writers and artists you have studied and how have these shaped your writing. Tell us about the writing scene in your country.
To start at the end, the writing scene in Zimbabwe is vibrant, especially among the younger generation who are less inclined to censor themselves, more inclined to ridicule those in power who abuse it.
My initial encounters with poetry, as I have said before, were at my segregated primary school where we were mislead by nostalgic expatriates from all corners of Great Britain.  However, I loved the poetry they introduced to us, mainly from the Georgian era - poets like Alfred Noyes, John Masefield, and Walter de la Mare.  I loved them for their lyricism, and that influence is with me today.  Poetry shares content with philosophy, history, religion, psychology, politics…  it is nothing special; but poetry’s form is its own.
I got to African literature too late - in my twenties - for it to have much of an influence on my writing.  But I was steeped in English literature.  The first place I wanted to visit when I finally got to England was Kensington gardens - the world of Peter Pan!



11: Give us an overview of your published work. What are the issues at the centre of your writing and why
I’ve always considered myself more of a poet than a prose writer even though I’ve published more prose than poetry.  I first started to get published in the late 60s, along with contemporaries like Charles Mungoshi, Musaemura Zimunya, and the late Julius Chingono.  Well, I’m still getting published, still in a fairly unobtrusive way, 50 years later.  If I include collaborations, I have had, in that time about 18 books of poetry and prose published.
Most of my prose is satirical, hence its limited appeal; most of my poems are lyrical, with a slightly less limited appeal.

12. What is your writing process? 
Poetry comes to me; I go to prose.

13. Of the older generation of writers you have collaborated with other writers across cultures in Zimbabwe more than many of your contemporaries, why. What do you enjoy about these collaborative endeavors and how do you go about it 
Poets are kindred spirits.  We can sit for hours together without having to say a word, though words are our game.  But of course, it’s more than that.  I’m proud to be published alongside black writers whose work I admire; and I’m grateful too, that after a long dry season I am beginning to be accepted as a Zimbabwean writer.

14. Tell us about your poems in Zimbolicious Poetry Anthology 2016
I think they are typical of my style, and indicate that my subject matter is variable.

15: If you were a poem, what form will you be in?
The sonnet of course.  Ask PAN.

A date with Zimbolicious co-founder and co-editor, Edward Dzonze

INTERVIEW WITH EDWARD DZONZE

1.Briefly introduce to us who you are

Also known as NRS(NamelesRadioStation) in Spoken Word circles ,Dzonze is s passionate poet who finds his purpose in life through playing around with words .Author, co-editor of the Zimbolicious poetry series , Dzonze was born on the 4th of June 1989. He attended Mufakose 1 High School before corresponding with local colleges to attain his Advanced level certificate .In 2011 he enrolled with Seke Teachers' College for a Diploma in Primary Education but  was however expelled barely two months before the final examination for absconding lectures .

2.Can you tell us about your initial encounters with poetry and initial impressions with writing

I started writing at a tender age of 14 .My first poem was a love poem which i wrote on the 14th of February 2003.It is in the poem where i took solace for not having a girlfriend as it were and from there-on writing has served as a companion to me .

3.What is your writing process?

Basically i write to question all the things that seem out of place .M y daily routine begins with reading a book even if it means re-reading the literature i have read before so when i am writing i  am writing to challenge whatever the good literature i have been reading . Sometimes i don't get to write a poem or a story but always i write a line or two everyday .

4.What traditions and cultures , writers and artists you have studied and how have these shaped your writing?

I was mainly exposed to Western literature and traditions but basically i read all the good literature  that i come across with .In my formative years as a writer i read Musayemura include among others, Chenjerai Hove, Charles Mungoshi  , Emmanuel Ngara, Chirikure Chirikure and the Ngugis . I've also read Patricia Cornwell, Zora Naelle Hurston , Ruby Dee, Langston Hughes,Geofrey Chaucer,T.S Elliot, Jamaica Kincaid,Gordon Parks and too much of Dambudzo Marechera as well as Maya Angelou.
I've also read all the poems in the Zimbolicious Poetry Anthologies at least more than twice .My interaction with different cultures of the world have challenged me in raising the standards of my own writings not very much to , but at least closer to the standards that won them accolades in writing .

5.Tell us about the writing scene in your country

Moving with time is what largely determines the writing scene in my country where those who have embraced the dynamics of the digital era are fast making a  name in the industry while those still sleeping are dreaming of breaking through .

6.Tell us how Zimbolicious started. What does it mean to you as a writer and as co-editor?

When RoyaltyPublishing USA , an e-publishing company  , was founded  by a close friend (Frances Robinson) i was given 3 free publishing contracts two of which saw the publication of my 2 poetry collections Many Truths Told at Once and Wisdom Speaks .A budding writer that i was then , i approached Tendai Mwanaka with the other contract and together we settled for a poetry anthology that would accord fellow Zimbabwean writers a space to tell their story . Mwanaka proposed the term Zimbolicious after deliberations as to the nature of the anthology and thus Zimbolicious became .
Zimbolicious to me is a poetry page upon which the Zimbabwean story is told , a poetry page upon which names of writers are written without fear and favour .

7.Tell us about the first reading of the Zimbolicious poetry anthology at the UZ  mid last year .What were the major highlights and what  more do you think can be done to bring the Zimbolicious story and poetry in general to the people?

I would like to describe the first reading of the Zimbolicious poetry anthology at the UZ as a big success. The event was held on 7 July 2017 at the Llewellyn Lecture theatre, this of course came as a result of some contributors who heeded Mwanaka's call to have such book readings . Some of the contributors who came through include among others, Tinashe Muchuri, Phumlani Chipandambira , Chenjerai Mhondera , Lovers Pamire , Dr Kufakurinani and of course yours truly . The poems presented challenged the academics in attendance to question why the co-operate world would turn a blind eye to such intellectually rich content that have the capacity to transform the country as a whole.
Lovers Pamire thrilled the audience with  his unmatched Country beats while your truly was in a generous mood, sharing three Spoken word pieces before getting into the business of the day .From what i saw indeed book readings are the way to go but also we as writers need to fight all the way for our literary works by making sure that we bring the books into local bookshops. What can we do when we have a co-operate world that is so blind to our craft? The editors alone cannot achieve it....

8.Tell us about your poems in the Zimbolicious Poetry Anthology Volume 1 and 2

Volume carries two of my poems I Sing "Zimbabwe Among Genius" and "Up in arms with Our Own", both poems came with a Shona translation. The first poem being a celebration of Zimbabwean talent while the later was an outburst on the stupidity of Xenophobic stampedes that we have witnessed on the other side of the Limpopo River.
In volume 2 i made 3 English submissions "Today is their Day(Heroes' Day)" which is basically a celebration of  the sacrifices made by free fighters who liberated the nation from  servitude . The second one being "Africa :To whom it may concern", a poem which questions African leaders with regards our way of life against the resources that we boast of . "Childhood Memories of Nyaruchena River"  talks about some of the myths we were told as we grow up .In as much as those myths play a big role in shaping African societies there comes a time when ones gets to know the truth and realize how important those myths are , zviera-era as so called in Shona.

9.You have published 2 books with RPUSA, tell us why you chose an American publisher rather than those in Zimbabwe .What are the challenges of publishing with foreign publishers .

In short RPUSA , was willing to give me a chance , something that local publishers were never to do unless you have a reputable name .I asked myself how do i  make a name if no local publisher will give me a chance and then Frances seem to came with the answer and thank God Zimbolicious was born out of it all .
The biggest challenge i have personally faced is bringing the aforementioned books onto the local market and obviously i will not talk about royalties , when you are dealing with a foreign publisher it means getting into a foreign market as well .

10. Outside the Arts field , what other things are you interested in .

My life is all art .I am patron of Firetym Entertainment , a local arts initiative that seek to promote and help upcoming artists overcome almost the same challenges i overcame myself .I also manage two Dancehall artists Chief G and IrieMan who also happen to be co-founders of Firetym .

11. Any parting words

I would like to thank everyone who made Zimbolicious a success and finally I am looking forward to Zimbolicious Volume 3 , depending on how volume 1 and 2 fares on the market as we are at the marketing and promotion phase .

Interview with Tembi Charles

Interview with Tembi Charles

When did you begin your career as a literary artist? Can you tell us about your education, both in and outside classroom?

My interest in reading and writing started at primary school. My Grade Seven English teachers, Sister Pauline and Mr Moyo, who I still remember fondly, encouraged us to read and to tell our stories. I began writing poetry and short stories then. After a career in retail, I completed a BA General, majoring in English Literature and Gender Studies from The University of the Western Cape, an Honors Degree and Masters Degree in English Studies from Stellenbosch University. I have recently started a Dual-Title PhD in Comparative Literature and African Studies at Penn State University in the USA. This formal training has given me the time to learn about writing. Outside the classroom, I enjoy going to poetry readings whenever I get the chance.

What are the writers and artists that inspire you a lot, and why

This is a difficult question because there are so many. I enjoy work coming from Zimbabwe right now. The poetry is alive, exciting and daring! More and more Zimbabweans are writing, which is good, as I believe all of us have something to say. Right now, life in Zimbabwe is difficult for most people and for poets this is the time to create for future generations. We need to capture the history of our beautiful country as it unfolds, whether good or bad.

Your poem “Mother” is rich in visual imagery culling inspiration from a variety of sources like Christianity and traditional African Culture, can you tell us about it

Thank you. This poem came about when I was thinking about the upsurge of Churches everywhere, and I asked myself if religiosity is really a good thing for our society. I am intrigued by people who are God-fearing on the one hand, and also superstitious and hateful, on the other.

Your other poem in Zimbolicious Poetry Anthology, Vol 2, “Uhleko lolu ngolwani?” is written in Ndebele, Tell us why you decided on using Ndebele rather than English, and the challenges of writing in indigenous African languages. Can you tell us about the process of translating your own work? What it involves, how you approach your work, what you want to achieve

This is a very interesting question indeed, because I had always written in English until a friend asked me if I think in Ndebele or in English? This peculiar question prompted me to start writing in my mother tongue to find out. I must say it has been harder than I thought. I seem to take longer and struggle to find the right words. I think this is the price many of us pay because we have adopted English as our main language of communication in most spheres of our lives. When it comes to translating from Ndebele to English, the process is difficult, as there are many words that simply do not exist in English and if they do, they do not quite mean what is intended in Ndebele. I do whatever I can to be true to my original message.

How do you bridge your work as a creator and your work as an academic? Where do you see yourself bending more towards in the future?

I get more pleasure from writing poetry because I can break the rules more easily and do whatever I want linguistically; there is more freedom.   However, I see both forms of writing as creative in different ways and I will continue to do both.

Make a list of the 5 most important things in your home

My books are most important, and so are my spectacles, my pen, my writing pad and tea!
What are the improvements you want to see in the Zimbolicious poetry series in the future?
The Zimbolicious Poetry series is an important work and I would like to see more and more poetry in our indigenous languages.

An interview with Jabulani Mzinyathi

An interview with Jabulani Mzinyathi

 05 JANUARY 2018


When did you begin your career as a literary artist? Can you tell us about your education, both in and outside the classroom?

My first poem was published by Moto Magazine in 1992. That marked the start of my career as a known literary artist. Thanks to the late Onesimo Makani Kabweza who was the editor then.  My career as a literary artist had however started from the time I was in Form One at Ascot Secondary School Gweru.  I had my school boy love and protest poems  tucked away in my book case. I did not know what to do with them. I just wrote on and on. Later in life I became a member of BWAZ Midlands Branch. There I came into contact with Stephen Alumenda, Dillion Banda, Hleko Vuma and many others. I cannot recall at what stage the enigmatic Mbizo Chirasha came onto the scene. Of course Emmanuel Sigauke was there too at some stage. Those were people I came across in the formative years of my literary career!

Education began on the streets of Ascot High Density suburb.  There we would meet brothers and sisters who were already at school. It was a joy as they read aloud to us. Mambo Press used to churn out a lot of comics. If I recall well, these revolved around a character called Musa. They were sold cheaply and before I even started school I had access to those. Later there were frequent visits to Mtapa dumpsite- kuma Dee. There we would pick comics thrown away as trash from the white side of town. I use the term ‘white side of town’ to capture the racism that prevailed then. The comics were a treasure. These were comics on Chunky Charlie, She , Kid Colt , Captain Devil and many more.

Later in life I was to attend Muwunga Primary School. My mum dissatisfied with the standards there moved me and my young sisters to St Michaels Catholic Primary School . The formal education road then took me to the then prestigious Ascot School, Gweru 1979-82. I completed O level then.  I then trained as a teacher at Andrew Louw Zintec College. Not satisfied I picked up books and went to ZDECO to do A Levels. I dropped out because I was not happy with the way I was being taught so I then studied on my own. I studied History, Literature in English and History. Having passed I looked elsewhere. I resigned as a teacher and became a trainee magistrate at the Judicial College of Zimbabwe.  I was greatly incensed  by the tag ‘non degreed’ magistrate. We had been recruited to fill the skills gap. There was an exodus of lawyers then. I then studied for a law degree with UNISA. During the same period I did a diploma in human resources management IPMZ.  At fifty two I am not done yet. Watch the space!


What is poetry to you?

Poetry to me is painting pictures in words. It is organic in the sense that I draw from the socio-economic-political milieu I find myself in. The world in general provides the raw materials and I dig deep to find words that capture beauty, joys, sorrow and all human emotions, thoughts, dreams, etc.  Like my late compatriot Dambudzo Marechera I have this firm conviction that ‘Poetry is an attempt to put into words what is inside a person emotionally, intellectually, imaginatively. The poet’s job is to find the equivalent, the verbal correlative of a particular feeling. This idea is from T S Eliot. The only difficulty is that there are no words for what you are feeling.’ [Cemetery of Mind 1992:209]. Further poetry to me is prophecy, philosophy and a dive into the metaphysical realm too. It at times is therapeutic.  After I have written a poem especially when the world seems to be collapsing around me I come away with renewed hope. That magic drug.


What are the writers and artists that inspires you a lot, and why

There are many writers and artists that have greatly inspired me. These are too numerous to mention.  Let me make mention  of a few. Dambudzo Marechera- the great imagery and the lived experiences. David Mungoshi-the simple yet incisive works. Ummmmmm the recent work Live Like An Artist epitomises what I refer to.  Nikolai Gogol, Dostoyesky, the Russians  and great story telling. I recall the Great Coat by Nikolai Gogol.  Harper Lee and how he tackles racism in To Kill A Mocking Bird. Of course I relate with the court scenes given my legal background.  Charles Mungoshi is another writer whose works inspire me for the same reasons that David Mungoshi’s works inspire me. My two Malawian brothers Jack Mapanje and Frank Chipasula are also grand masters of imagery. Further they also took the bull by the horns when Hastings Kamuzu Banda was at the helm for a long time in Malawi. Of course I protested artistically at what I saw as misrule in Zimbabwe when Robert Mugabe was at the helm for thirty- seven years!  Reggae artists and dub poets inspire me greatly. I refer here to the voices of liberation of Mutabaruka, Benjamin Zephania, LKJ- Linton Kwesi Johnson. The redemption songs of Peter Tosh, Bob Marley, Bunny Wailer, Joseph Hill usually are background music as I write. I love the socio-economic-political commentary as I consider myself a revolutionary in the same mould as the reggae artists stated above and many more that  sing of liberation from evil systems[shitstems] called Babylon.


You have written in both English and Shona, are they any other languages you write in. what do you find interesting in expressing yourself in many languages.

Predominantly I write in English and chiShona.  English was the medium of instruction at school. ChiShona is my mother tongue.  isiNdebele is what my late dad spoke. I am not very proficient in the language but I have a working knowledge. I have written very little in IsiNdebele. Ngiyakhuluma [I speak the languageIsiNdebele] though!  What is interesting is that I reach out to a wider audience when I write in the languages I refer to above. Like I said I paint pictures in words so at times one picture is better painted in ChiShona than in English. It is like sculpture. One may use soapstone and another may use marble or even metal to convey a message!


 Your two poems in Zimbolicious Poetry Anthology 2016 edition, “Yakarira Hwamanda Yechimurenga”, and “Zvokwedu”, are all in Shona. Tell us what they are about, what were the challenges of writing in this language, what was your translation process


 

The two poems in Zimbolicious Volume One, are linked thematically in that they are about taking pride in our indigenous languages. Honestly I had no challenges that are out of the ordinary. I am bilingual. I was brought up by a Chishona speaking mother. That language is my mother tongue. indigenous languages are equally rich and should not be allowed to die. The two poems speak to a cultural revolution. I am not saying we should abandon writing in English. No! Indigenous languages should get to the same pedestal as English! A lofty ideal! The translation process was quite difficult. I tried to get Mbizo Chirasha to do the translations. He was submerged by several projects. I then did the translations since I am bilingual basically. It was a challenge.  I just then tried to capture the essence of the ChiShona poems as I translated. I think I managed to do so. I almost protested that I was losing the essence of what I had set out to do when I composed the poems in ChiShona. I however thought the editors wanted to reach out to a wider audience. Yes, very noble indeed.


Your two poems in Zimbolicious Poetry Anthology, Volume 2, the 2017 edition, “The Setting Sun”, and “Another day” are both in English, tell us what these are about.”


The setting sun is a prophetic poem to some extent. It predicted that the era of Mugabe’s rule was coming to the end.  The repression then made me resort to such imagery. The poem is therefore sort of multi-layered.  Another day is a story of abject poverty where a girl goes begging to fend for her grandmother. There are the ever present dangers of sexual abuse. The child endures the vagaries of the weather as she goes about begging for the elusive United States Dollar. Oh I have another poem in that collection. It is entitled Murder Most Foul. It explores the issue of xenophobic attacks on Zimbabwean economic refugees in South Africa. That poem states that black South Africans are victims of thriving Apartheid pouncing on victims of misrule and so should see where the real enemy is.



Tell us about your forthcoming poetry book, “Under The Steel Yoke


I am really excited that the collection may soon be published. There is not much that I wish to say about the yet to be published  work. To whet prospective readers’ appetites may I say the work comprises of poems composed when the poet felt that the revolution he supported and still supports was coming off the rails. The freedom train was becoming a gravy train. The majority wallowed in poverty and still do while a few politically connected went abroad to schools and flew to hospitals oversees and went to fashion capitals of the world for clothes. Cattle yokes are made of wood but the yoke we found ourselves under was made of steel. The rulers were driven by lack of altruism that had informed the liberation struggle. So the poems were composed during that dark, dank period. No publisher would touch the works. I was deemed anti-establishment but I refused to be labelled thus for I was conversely  pro-establishment in the sense that I pointed out the derailment like Gogol and Dostoyevsky did in the Russia of old. So yes, the poems are protest poems like those of Mapanje and Chipasula during the iron fist, brutal rule of Banda.


Tell us about the writing scene in your country from since you started writing upto today


There was a time when BWAZ and ZIWU were quite vibrant. I met the likes of Shimmer Chinodya , Musonza, David Mungoshi, Willie Chigidi, Wiseman Magwa and many others. These organisations were instrumental in that some of us met the gurus in the field and looked up to them and got invaluable advice. There was a low cost poetry –prose magazine called Tsotso.  Budding writers had a practising ground. I cannot forget the joys of seeing my work in print then. Then there was Moto Magazine.  Now it lies in the grave yard of the publishing world. Moto  had space for poets and short story writers. My work was featured too by that magazine.  During the same period Ngoma Yokwedu was published by BWAZ in association with The Literature Bureau. I did contribute some work.  Then the literary scene basically nose- dived. My view is that there is a lot of material unpublished out there but the economic morass took its toll.  Poetry suffered the most.  I see a ray of hope though. The collection by my brother David Mungoshi was published by BHABHU BOOKS. I hope they will do more. As writers too we should endeavour to produce great works that merit publishing. Self -publishing is another way to go. My sister Virginia Phiri has done well in that area.  All of us must also play our part in fostering a reading culture even for E-books.  Zimbolicious poetry has also given us a great platform. More needs to be done.


You are a great fan of Reggae music, tell us about the artists you like, and how this music has inspired your writing


Oh yes maan. Reggae music I love. I will never understand/overstand any oppressed and colonised people who lack an appreciation for this music that basically talks of liberation/ emancipation. It is not bubble gum music. the lyrics of Bob Marley and Peter Tosh who passed on in 1981 and 1987 respectively remain poignant to this day. Truth , justice and equal rights are issues that reggae lyrics deal with largely. Yes the Rastaman can also be a lover par excellence. Listen to Gregory Isaacs and you will realise what I mean, maan. My work is inspired by the great reggae lyrics. I protest against oppression in much the same way that reggae artists do. I speak about truth , justice and equality. I hate oppression with a passion. Some of my works are spiritual. These are informed by the teachings of Rastafari and not a warped kind of Christianity that treats black people as sin and as hewers of wood and drawers of water.




At the home front, what kind of a person you are in the eyes of your family members


I am known as a speaker of the truth. I make some people in the family uncomfortable. I shoot straight. I have no sacred cows. I cannot sing praises where dirges are due. I have no time for control freaks and I tell them so. If your face is askew do not blame the mirror –Russian Proverb. The truth is like the sun, no man can look directly at it. I am a rebel against strictures at home, play or at the workplace. I am seen as a crazy man who writes but gets no royalties. I always quip that life has become so materialistic and one dimensional  and we have become worshippers of mammon. I have repeatedly stated that I have inner satisfaction when I speak to the present and future generations. Yes I must put bread on the table but man shall not live by bread alone!



What are the improvements you want to see in the Zimbolicious poetry series in the future?


Improvements? The poems that one finds in Zimbolicious are of an exceptional quality. What needs to be done is to have these works available locally but like I said the economic malaise is a debilitating factor. One hopes books will be available locally at not so prohibitive cost.

Final list of ZIMBOLICIOUS POETRY ANTHOLOGY: Volume 2

Zimbolicious poetry anthology: Volume 2

Contents

CHENJERAI MHONDERA: DESIRE TO READ FROM UDOMOROPHOBIA
Tendai Rinos Mwanaka: 1-9
Jackson Tendai Matimba: Weaving Away the Poetry Basket (2)
Killian Mwanaka: Poetry Of Change
Mbizo Chirasha: Dear commissar
Elizabeth Semende: POETRY
Lovers Pamire: My Heart Cries
Learnmore Edwin Zvada: My Foot
Shadreck Matindike: Ndabaikana!
Lisa Jaison: All in good time
Constance van Niekerk: Buried Dreams
Troy da Costa: When The Lights Went Out
Tavonga Maipe: A JOURNEY
Thamsanqa Wuna: I watched the rose wilt and die.
Hosea Tokwe: Your absence puts me in another world
Cosmas Shoko: A SMILE FOR THINGS TO COME STOOD TALL
Hosea Tokwe: How much you mean to me
Albert Nyathi: Do not blame the Mirror
Lisa Jaison: Ego Protector
Tendai Rinos Mwanaka: THE GUILTY TRIP
Patricia D. Dube: Mount Hampden
Robson Isaac Shoes Lambada: TO MY MOTHER-IN-LAW
Nellah Nonkondlo Mtanenhlabathi: LAMENTATIONS
Jurgen Martin Namupira: Broken Future
Constance van Niekerk: Bars
Munsaka Vurandi: Chimbuzi
Munsaka Vurandi: Mukamwana
Munsaka Vurandi: Kumebeeba
Albert Nyathi: Resilience
Cosmas Shoko: untitled short poem
Aleck Nchite Munkuli: NKUNKUMINA YABINGA
Aleck Nchite Munkuli (translation): THE LION OF BINGA
Edward Dzonze: TODAY IS THEIR DAY (HEROES’ DAY)
Chido J. Ndoro: YOU WERE THERE
Nellah Nonkondlo Mtanenhlabathi: FORGIVE THEM NYONGOLO.
Jabulani Mzinyathi: Murder Most Foul
Edward Dzonze: AFRICA; TO WHOM IT MAY CONCERN
Mbizo Chirasha: Kaddafi
Mbizo Chirasha: Black Oranges
Lovers Pamire: Am not black, but an African
Debra Chimuka: The Woes of My Color
Constance van Niekerk: African Footprints
Edward Dzonze: CHILDHOOD MEMORIES OF NYARUCHENA RIVER
Hosea Tokwe: A Prize for the Black Eye
Elizabeth Semende: AIDS
Phumulani Chipandambira: THE STORM
Jabulani Mzinyathi: The setting sun
Lovers Pamire: A Rural Woman
Shadreck Matindike: Mukadzi wekunaZvirevo 31
Tavonga Maipe: BEAUTIFUL WOMAN
Phumulani Chipandambira: THE MISSING PERSON
Jabulani Mzinyathi: Another day
Killian Mwanaka: The Wretched Of The Earth
Robson Isaac Shoes Lambada: ELECTIONEERING
Patricia D. Dube: Annihilation’s edge
Robson Isaac Shoes Lambada: CONFESSIONS OF A WAR VETERAN
Killian Mwanaka: What Next?
Tembi Charles: Uhleko lolu ngolwani?
Tembi Charles (translation): What is this laughter?
David W Mwanaka: Gudo guru petamuswe
David W Mwanaka (translation by Tendai Mwanaka): Old Baboon, fold your tail.
Thamsanqa Wuna: Predicament
Troy da Costa: The House We Sold
Phumulani Chipandambira: CHITUNGWIZA MAP (REDRAFT)
Anesu: Journey Home
Tembi Charles: ‘Mother’
Kelvin Mangwende: YAHWE
Debra Chimuka: In the Land of the Lucid
Kelvin Mangwende: KARARA
CHENJERAI MHONDERA: CANCEL
Kelvin Mangwende: NDAISAZIVA KUTI NDIWO HUPENYU
Learnmore Edwin Zvada: On Spring Night
Tendai Rinos Mwanaka: This is my Home