Registered under the National Arts Council of Zimbabwe

28 May 2012

WIN Newsletter, Issue No 50



Josephine Sithole Muganiwa
WIN Board Chairperson

Greetings once again. We are excited to be part of the cultural activities in Zimbabwe, especially in the role of mentors to the future leaders of Zimbabwe. New writers are being forged though the Writing Workshops. We encourage participation by other aspiring writers between thirteen and twenty-one. Congratulations to our writers for recognition and being ambassadors for Zimbabwe. Let us keep writing!


NoViolet Bulawayo, 2011 Caine Prize Winner


Chatto Acquire Thrilling Debut From 2011 Caine Prize Winner, Noviolet Bulawayo

To Becky Hardie at Chatto, debut novel We Need New Names by Caine prize-winning NoViolet Bulawayo, after a heated auction conducted by Alba Zeigler-Bailey at the Wylie Agency, for publication in 2013.  Chatto acquired UK and Commonwealth rights, excluding Canada. 
We Need New Names tells the story of ten-year-old Darling and her friends Stina, Chipo, Godknows, Sbho and Bastard, who used to have comfortable houses and existences but now live in a shantytown called Paradise. For these children, the only way is down – or out. To America, in Darling's case. Pulled out from the poverty, disease and violence of Paradise by her aunt and taken to the Midwest, Darling faces a whole new set of problems: language, food, friendships, the internet and being part of a community of exiles. 
NoViolet's story 'Hitting Budapest' won the 2011 Caine Prize for African Writing and was  selected for the Boston Review by Junot Diaz who commented, 'I knew this writer was going to blow up.  Her honesty, her voice, her formidable command of her craft—all were apparent from the first page.' NoViolet has also been shortlisted for the 2009 SA PEN Studzinsi Award, and her work has appeared in Callaloo, the Boston Review, Newsweek  and the Warwick Review, as well as in anthologies in Zimbabwe, South Africa and the UK. NoViolet recently earned her MFA at Cornell University, where her work was recognised with a Truman Capote Fellowship. She will be attending Stanford in the autumn as a Wallace Stegner Fellow. NoViolet was born and raised in Zimbabwe.
Becky Hardie said, 'We Need New Names set the whole of Vintage alight. The energy and power of Darling's voice and NoViolet's incredible use of language and storytelling make this a debut quite unlike any other. But New Names isn't all about language and storytelling, it's also a vitally important book about war, poverty and the state of Zimbabwe. We are over the moon to welcome NoViolet to Chatto.' 
NoViolet said, 'It's a most exciting time for me; of course Chatto & Windus are prestigious publishers but more than that I feel We Need New Names is just lucky to be in the presence of a very passionate team. I'm thrilled, and cannot wait to share the novel, and hopefully more, with readers.' 


Josephine Sithole Muganiwa has published an academic book titled "Where did African Leaders Go Wrong?"(LAP Lambert Academic Publishing, ISBN 978-3-8484-4685-8, paperback, 116 Pages), an analysis of selected texts by Ayi Kwei Armah and Peter Abraham. Below is the flap text of the book from LAP:

The book explores the challenges that post independent African leaders have faced in charting development in their countries. The blame can be shared between the leaders and the led. Some leaders deliberately go into power for personal gain, while the led may fail to understand the vision of the leader and work against his development plans. Historical circumstances have also worked against the leaders as they try to extricate themselves from European models of development. Other leaders have accepted these models thereby unconsciously working against their people and destroying their culture. The led themselves have reneged their duty to chart the way forward by trusting 'messianic' leaders. Ultimately every citizen has the responsibility to consciously choose suitable leaders and monitor their progress. It is the duty of the leader to safe guard his people's dignity and culture in his dealing to the best of his ability and circumstances.

Josephine Muganiwa (nee Sithole) is a lecturer in the English Department at the University of Zimbabwe. She teaches African literature, English Literature and European literary genres. Her areas of research are gender and culture in literature and development. Josephine Muganiwa is also a writer with published short stories and poems.

By WIN Staff Writer 
Tilda Gozho, a Form 4 student from Glen View 2 High writers' Club performing poetry at WIN function  last year

About fifty children under the age of 18 from Hope Centre in Snake Park, Faith Ministries in Mbare, and Glen View High 2 writers’ club will benefit from three young writers’ workshops which are being organised by Centre for the Development of Women and Children (CDWC) in conjunction with Writers International Network Zimbabwe (WIN).

The three training workshops, running on Saturdays only, are being held at YWCA Westwood, Kambuzuma.

Renowned authors and University of Zimbabwe lecturers Memory Chirere and David Mungoshi are facilitating the workshops.

On May 19, the children attended the first of the three workshops which introduced the young writers to the short story, non-fiction, paragraph and stanza writing, active and passive voice writing, and angles of vision.

The other two workshops will be held on June 2 and June 9, thereafter the best works will be selected for publishing as booklets in Shona and English languages.

Through these workshops the children will have a chance to interact with Chirere and Mungoshi who will both read their published stories at intermissions.

According to Emilia Hatendi of CDWC, the children will use skills acquired to come up with best short stories, narratives or poems which will be published in booklets to inspire other children mainly from disadvantaged communities, particularly out-of-school study groups.
“One of our areas of specialization is education under which we develop initiatives to impart learning to out-of-school children. This is the reason why we have decided to hold these workshops for young writers,” she said.
WIN and CDWC are locally registered non-governmental organizations, with the latter working at transforming the lives of disadvantaged and marginalised women and children in Zimbabwe, particularly rural women farmers and the girl child.
Hope Centre, as the name says, has become a source of inspiration for more than 300 disadvantaged children from surrounding communities. The Centre has an out-of-school study group that provides education and runs a feeding programme for the children.
WIN, which selected children from Glen View High 2 writers’ club for the workshops, was formed to create a network of unpublished and published writers under which various literary activities are held to improve writing and reading skills.
The Ministry of Education, Sport, Art and Culture (Harare Province) recently gave WIN the green light to work with schools in Harare for its young writers outreach programme which started in February this year.


 The Kwani? Manuscript Project

For at least 60 years the African novel has deconstructed, and even transversed, ideas and imaginaries of self, culture, society and nation across the continent. A self-reflexive continuum, shifting chameleon-like; a receptacle of letters, morphing through the cry of the griot, everyman's diatribe, madman's claim of truth or the politician's manic address. An oracle.
It is the precursor to many contemporary urban African genres and forms. From the ubiquitous FM station, the graffiti of rage, the new painter's electronic brush, the characters of transnational cable T.V. and the growing fan-tribes of European soccer. The African novel determined Us, created an autonomy of expression and became the said curse of dictators.

To celebrate the African novel and its adaptability and resilience, Kwani Trust announces a one-off new literary prize for African writing. The Kwani? Manuscript Project calls for the submission of unpublished fiction manuscripts from African writers across the continent and in the Diaspora.

Beyond the foundations laid by Soyinka, Ngugi and Mahfouz, in remembrance of Yambo Ouologuem's pre-colonial quest and Mariama Bâ's bending of form, to the urban journeys of Meja Mwangi, the precocious post-everything of Kojo Laing and the musical rhythms of Ahmadou Khrouma. This prize seeks to recognize the possibilities of form in an ongoing genre that has re-emerged in the work of Chimamanda Ngozi Adichie and Alain Mabanckou, The Kwani? Manuscript Project is a conversation, an ill guised attempt at growing its own list. For there is no greater celebration of emergent forms than in publishing our own, thanks to those who have existed before us and helped us believe. We look forward to your submissions.

The top 3 manuscripts will be awarded cash prizes:

1st Prize: 300,000 KShs

2nd Prize: 150,000 KShs

3rd Prize: 75,000 KShs

In addition Kwani? will publish manuscripts from across the shortlist and longlist, including the three winning manuscripts, as well as partnering with regional and global agents and publishing houses to create high profile international publication opportunities. 

Click here for deadline details and submission guidelines

Winners will be announced in December 2012 at the Kwani? Litfest. 

The Kwani? Manuscript Project was initially conceptualised after Kwani Trust received the Prince Claus Award in December 2010 for "establishing a dynamic platform for new voices in AfricanLiterature." The award has provided seed money for this prize.


Moving Spirit: The Legacy of Dambudzo Marechera in the 21st Century (LIT Verlag, Berlin 2012) has been published and will be launched on Saturday, June 16 at 6 pm in The Buttery, St. Antony's College, Oxford, as part of the annual Britain-Zimbabwe Society Research Day.
The launch will include screenings of films from the DVD that accompanies the book.

Moving Spirit: The Legacy of Dambudzo Marechera in the 21st Century
Edited by Julie Cairnie and Dobrota Pucherova
LIT Verlag, Berlin, May 2012

ISBN: 978-3-643-90215-3
216 pages, paperback, price € 29.90
UK orders:
Europe orders:
North America orders:
Southern Africa orders:

This multimedia collection inspired by the life and work of the Zimbabwean cult writer Dambudzo Marechera (1952-1987) demonstrates the growing influence of this author among writers, artists and scholars worldwide and invites the reassessment of his oeuvre and of categories of literary theory such as modernism, postmodernism and postcolonialism. Including a DVD with audio-visual creative contributions and rare archival material, this volume will be of interest to scholars and students of African, postcolonial and postmodernist literature and culture, as well as audio-visual artists, writers and biographers.

By Beaven Tapureta

Translation has once again proved to be a powerful tool that connects two different worlds.

The Spanish Embassy in Harare has published a book titled “Shona Guide for Spanish Speakers” (Guia Basica de Shona Para Espanoles), authored by Victoria Tur Gomez, Chargee d’Affaires of Embassy of Spain in Harare, in collaboration with Beatrice Ngwenya, a Shona teacher.

The Centre, which has resumed cultural activities after it temporarily closed for three weeks following the death of the Spanish Ambassador, Pilar Fuertes Ferragut in April this year, has unleashed this newest project that will timelessly bridge the linguistic gap between two different cultures.

The book was launched in the Harare City Library on Wednesday evening, May 16, 2012, with a huge mass of well-arranged books surrounding guests.

Diplomats, publishers, writers, friends, and musicians attended the launch that had Zimbabwe’s legendary musician Oliver ‘Tuku’ Mtukudzi, who is also the new UNICEF Regional Goodwill Ambassador for Eastern and Southern Africa, as guest of honour.

Mtukudzi spiced the launch with a classic solo performance of his popular songs ‘Neria’, a soundtrack to the local film of the same title, and ‘Wagona’.

Speaking at the launch, author of the book Victoria Tur, who fused Shona and English language dexterously, said her late boss was supportive that she even wrote the foreword to the Guide.

“When I started writing the book, I dreamt of today and I would like to honour my late Ambassador for being an inspiration behind this piece of art,” said Victoria, adding that she hoped Spanish citizens and Shona speakers will find her book valuable.

She thanked various people who included Irene Staunton, Prof. George Kahari, Beatrice Ngwenya who taught her Shona language, and others, for making her dream come true.

Marina Garcia, Cultural Attachee at the Spanish Embassy, congratulated Victoria and spoke at length about the Cultural Centre’s projects in the Shona and Spanish languages which have bonded the Embassy with Zimbabwean artists from different backgrounds.

She said one of the successful projects done by the Cultural Centre was the re-enactment of the play ‘Mutambo Wepanyika’ (The Great Theatre of the World), written by and translated into Shona in 1958 by Pedro Calderon de la Barca, a Spanish priest.

 The play, directed by veteran playwright Stephen Chifunyise and performed by Children’s Performing Arts Workshop’s (Chipawo) New Horizon Theatre Company, has featured at various cultural festivals across the country and toured about forty schools in urban suburbs.

The importance of the performing arts in articulating mother tongues was accentuated by Chifunyise in his speech to officially launch the Shona Guide for Spanish Speakers.

“Our mother tongues are the best tools in performing arts,” he said.

Chifunyise said the play ‘Mutambo Wepanyika’ is a good example of how mother tongues can be useful in cultural relationships. The play, he said, has become a permanent repertoire for Chipawo and they will be touring universities with the play soon.

By publishing the book, Chifunyise said Victoria has respected mother languages and that her book will be an encouragement to have more translations.

Others who spoke at the launch include Fernando Arroyo, a friend of Victoria, who said the Guide links two worlds and there has never been a similar book before.

To celebrate Shona and Spanish languages, there were poetry recitals by children Marc Monllau (12 years) and Marta Monllau Pardo (10 years) who jointly recited a Shona poem ‘Kuziva Mutauro’ written by Tinashe Muchuri,

Ruva Chinembiri (14 years) and Ruvheneko Mujuru (12 years), both from St Johns Emerald Hill School, also jointly recited a Spanish poem ‘Poesia eres tu’ (You are Poetry) written by Gustavo Adolfo Becquer.

The Shona Guide for Spanish Speakers, though limited to one of Zimbabwe’s mother tongues, should indeed generate more interest in publishing more Guides to cater for the other main languages such as Ndebele which are found in Zimbabwe.


Tinashe ‘Mutumwapavi’ Muchuri

The Young Poets Need Mentorship Programme

From L to R: South African poet Ruth Lindiwe Vilikazi, Linda Poetic Angel Gabriel (Zim) and Memory Chirere (Zim) enjoying proceedings at the House of Hunger Poetry Slam

On Saturday May 12, 2012, I was part of the audience that witnessed poetical vibes from a visiting South African poet Ruth Lindiwe Vilakazi and other local poets at the House of Hunger Poetry Slam at the Book Café, Harare.
Vilikazi was in Zimbabwe courtesy of the exchange program between House of Hunger Poetry Slam Jozi and House of Hunger Poetry Slam Harare.
This event was also graced by renowned author and poet Memory Chirere.
Vilikazi is one poetess who uses poetry to define humanity and make you believe in the beauty of poetry.
I enjoyed the performance by Tears who showed his understanding of sound. I also enjoyed the creativity and delivery of Madzitateguru and Harmonics although I had reservations about some young poets who were part of the programme.
Apart from enjoying the overall poetry at this slam, I also had an opportunity to look at this premier poetry space in Harare in perspective. Vilikazi’s performance was in sharp contrast with the performances by some aspiring poets. Having been part of the space since its beginning, I have fond memories of the days when poets passionately performed their poetry.
I discovered that during that time we used to have workshops to mentor each other in performance poetry and we had time to gather as poets to share our experiences with the aim to improve our performances.
We did not take the slam as a place to score more points but a place to create a lasting impression.
Nowadays, the young poets who grace this space need to be taken through some of these steps so that they can perfect their skills and become great performers.
I discovered that some of the budding poets have no idea why they are on stage while others know their trade but just need to work extra hard to make themselves icons in their trade.  Listening to some poets on stage was like hearing voice over, seeing the poet on stage was not useful. There were those who shout out words without emotion that can be felt by the audience. A poem might be good but if the poet fails to add emotion to the words the performance remains nothing.  A poet’s presence on stage should be felt by the audience. Good words without sound and rhythm are nothing. Good words need the accompaniment of good sound and rhythm.   Here I am not talking of sounds from guitars and congas but voice articulation.
I suggest that the slam organizers should invite a local guest poet for every slam to show the young poets the way things should be done. Poets should be always reminded that they are not performing at the slam for points but to create a future in the industry. They should treat the slam as work not as pastime. There is also a tendency by poets to drink before they take to stage and even in between the performances. This issue of taking alcohol before performing is one way of taking the audience for granted. Normally, the audience does not watch the slam free of charge. Even if the entrance fee is a dollar, poets should show some respect for the space offered and the audience. You never know who among the audience can open great avenues for your future. It is at places like these that talent is scouted and groomed. If the poets do not behave themselves in front of the audience there are few chances for that poet to be appreciated and invited to perform at bigger functions.
The fact that someone is taking 3 hours of their time to listen to you says a lot about their appreciation of poetry and because they appreciate poetry, they should be respected. On the other hand, the slam doesn’t define what is being judged by the judges, whether it is delivery, performance or content.  It is up to the slam master to always say these things loud to the judges so that the judges will start giving appropriate respect to the poets who deserve recognition.
Remember, when you are on stage you are at work, don’t play with the audience’s patience.

Na Clever S Kavenga

Baba Wangu Chaiye Here Mukoma?

Tiri kubva zvedu kurukova Nyarunhombo kwataive tichigeza zvedu muviri. Hongu mungangoti ndiri kunyeba nokuti mukatitarisa tinenge zvedu vanhu varikubva kumahumbwe! Kuita setisina kumbobvira tageza. Ko handiti mutsauko wekuchena netsvina mafuta nesipo?

Aaa imi, mukatitarisa tizere zvedu neshena uye mharuparu sezvinonzi tamboumburuka mumadota. Isu here mafuta totoaonerawo pazviso zvevanhu vanobva kumataundi uko. Ivowo vachiri vanganiko vanouya vachibva kumadhorobha? Handiti wava kungouya rumwe rumwe apo nepapo sevanhu vakundwa kuhondo.
Idzodzi nyaya dzemuhondo ndodzinombotaurwa namudhara Murekabwe. Kana wotaura vanoita sevagarwa neshavi rokuropodza chairo mufunge zvenyu. Riripo zuva ravakatisekesa zvokubuda misodzi  nyangwe zvazvo zvimwe zvacho zvaisuwisa.
Mudhara Murekabwe vanositaura nyaya yevamwe amai vakatiza nguva yeusiku vakabereka kambwanana vachifunga kuti mwana wavo. Pfuti dzaive dzabanzaurwa usiku vanhu vakarivara ikazova batai batai vazhinji vasisazive kwekutizira mukati merima. Kwese kwese aingova maungira adzo pfuti. Amai ava ndipo vakanhonga kambwanana vachisiya mwana arere mumba.

Dzimwe nyaya vanotaura vachiseka zvavo seiya nyaya yaNdatsara anonzi akatiza nemhembwe yose vaenda kunovhima mudunhu reNyamhepo nevamwe.  Ndatsara aive asiiwa akagarira mukondo kuti akaona mhuka inenge yapinda mumambure wozodaidza vamwe woita maonera pamwe. Mhembwe yakazopinda mumambure iye ndiye tsvee kudaidza vamwe akati mudzimu waro bonga kuwana machongwe achirwa! Mhembwe iye ndiye dzva pamapfudzi ndiye hutu kumba kwake kawerewere achisiya vamwe musango vachingosvisvidza vachiteya kunzwa izwi rake kuti zvaitika mambure abata.

Dziripo dzimwe dzavanotaura mudhara Murekabwe vachiita sevachatosvimha Misodzi chaiyo. Unomuona agere zvake padombo rake rinotsvedzera nekugarirwa. Pamwe anenge akati zvake konon’ono akatarisa pasi sezvinonzi pane zvaanoona zvinomushaisa rufaro. Paripo paanenge achipfumbura fodya yake yechimonera. Asi kana achiputa fodya haatadze kunyemwerera. Kuti rwungava rufaro? Ndinombogaya kudaro.

Musakanganwezve kuti tichiri munzira kubva zvedu kurukova kwatange tichipurura guruva rekumunda kwavaTaswerera kwatakaswera nezuro rose.

Ndakanzwa Tizvirinde woti, “Shamwari Rungano pose pandinoona mudhara Murekabwe agere zvake ega padombo rake riye, ndinobva ndafunga baba wangu. Ndinombogaya kuti zvimwe baba wangu vanewo kanzvimbo kawovo wega. Kanzvimbo kavanogara vachirangarira upenyu hwemazuva akapfuura.

“Ndinofunga kuti pada zvimwe pakanzvimbo aka panewo dombo ravanogarira rinotsveedzerawo sedombo rinogarirwa namudhara Murekabwe. Pamwe nzvimbo iyi yavakunziwo ‘kakona kaWasu’

Chandinoziva chete ndechokuti baba wangu havapute fodya. Doro vanonzi namhai vainwa rematanda apo nepapo mumaraini kana richinge rabikwa kwete rokunogarira kumagirosa zvinoitwa namudhara waPinjisi.
“Vangadaro zvavo woputawo fodya nokuti zvoupenyu hazvina anoziva. Ko ndiani aiziva kana kufembera kuti Kagoro wokupurazi kunoshanda mukoma Takaruza nouzivi hwake achazodzingwa basa achinzi haagone kutyaira turakita? Iye uye Kagoro aifambisa turakita akaita zvokusimukira pamwe achimbobata zvake muchiuno turakita richienda baba! Wainzwa vanhu vachimukuruzira ichingovayo ‘Baya baya dhiraivha, baya tiende!’ Iye kufara kuita seachatsemuka muromo kusvika kunzeve nenyemwerero chete chete. Kuzopa iro guruva paanenge apfuura vanhu vaisara chingori chahotsi hotsi nekukwidzira madzihwa kasingapere!”
Nhasi Tizvirinde ari kufarira zvokutaura nezvababa wake mufunge. Handiti Mutsemhure akabva kuHarare ikoko ndiye akaonana nababa wake. Hanzi vaitodawo kupinda mubhazi pamusika mukuru wemabhazi kuMbare kuti vauyewo kuno kumusha. Akati vaitotsikana konzi navamwe papuresha kuti vakwanisewo kupinda mubhazi.

Bhazi rakazonzi razarisa iwo vatova pamusiwo chaipo ndokusara vakangoshama muromo nebhegi ravo mumaoko.
Ndozvakataurwa naMutsemhure. Hatizivi kuti ichokwadi here kana kuti kunyeba kwake hake. Apa Tizvirinde aingoti, “Chokwadi here mukoma? Haa baba vangu chaiwo here mukoma? Makatovaona  nemhanza yavo yainzi yaipenya semvura iri paruvare? Ko mubhegimo maiva nei, kuti mungangova maive nechingwa mbatya kana zviwitsi? Vaifara here kuti vavakuuya kumusha kuzotiona? Makavaudza here kuti ndiriko?
‘Kana makavaona baba vangu muchizivazve kuti vava nemakore anoverengwa nekukura kwangu vasati vauya kuno kumusha makadii makavapa nzvimbo yamaive makagara imi mochiburuka zvenyu muchisara iwo vachiuya? Handiti imi munongouya kuno nguva nenguva vanhu vasati vambova nechishuwo nemi tinoona madzokazve kuno! Chamunofambira hatichioni. Kuti munofambira kuzodhibhisa mombe dzamudhara wenyu?
‘Panewo vamwe vanhu vanoti munofambira kuzoona musikana wenyu Sinodhiya? Ndizvo here? Asika Sinodhiya wacho zvaakazotizira mumwe murume ane vakadzi vaviri imi muripo wani!

 Saka maibhaizwaka naye, angatizire saimba achisiya jaha? Jaha rinoshanda basa rinoshandwa wakasunga tayi?”
Mazwi aya akagumbura Mutsemhure zvikuru ndakazonzwa woti, “Iwe mupfana chibva pano waguta kunyarwa une mukanwa munonhuhwa semakaumburuka chidembo! Mazinzeve akaputana sehowa wakasvava! Ukarasa muromo wotaura sechimwana chekuhowa ndinokukanganwa kutaura kuno! Handidi zvokujairirwa senzira yekuchimbudzi yaunongodididza kufamba pasina anobvunza kuti uri kuendepi.”

Neniwo Rungano ndakadzoka ndotyawo ndotobvunda nokuti Mutsemhure aive agumbuka zvechokwadi. Ndaive ndofunga kuti kana akatitandanisa aizobata ani nokuti ini Tizvirinde ndinombomusiya mamwewo mazuva achimbondisiyawo pakumhanya apa.
Zvino patova nemasvondo maviri akatopfuura asi baba waTizvirinde hatisati tavaona nyika dzino. Iye Mutsemhure anguri akadzoka kuHarare kareko. Pada vachingori pamusika weMbare nebhegi ravo mumaoko! Zvimwe haisi nyaya yekuzara kwemabhazi asi kuti inyaya yemadhora, mari inonetsa kuiona iyi kuzoti kuibata hayo mahwani!!


In Memory Of Walter L Muparutsa

By Bart Wolffe, London

Hey, remember when we stopped for cashew nuts
On a rutted bumpy road somewhere between
Maputo and Mutare… how many of us were we
Crowded in that car, that four by four,
Our travelling band of brigands, troubadours,
Moving from one festival to another?
Eyara, Jasen, Daves, Dylan and I
And you, of course, old Madhara,
Muparutsa, you were the philosophical one,
Always ready to spin another yarn
Talking of when I would one day come
To live in your Chief Mutasa’s kingdom.
You promised me a plot that I would own,
A goat, a chicken, some hands of corn
And perhaps your grandchildren to visit
In my adopted African home.
We roamed past baobabs and acacia thorns
From Mozambique to Zambia and Hwange,
Performing clowns in our caravan, our circus
Of travelling rounds, but now the time has come
And you’ve gone home,
Left me with your legends and many a memory.

(This poem was read by Peter Churu to open the commemoration of the Life and Works of Walter Muparutsa held on May 18 at the Book Café, Harare)


Short Story Writing Competition in June/July and Workshop in August
(supported by Zimbabwe Reads)

Details to be announced soon

We are hungry for your feedback!


  1. always an inspiring read each it

  2. An enjoyable read. Congrats to Josephine!