Registered under the National Arts Council of Zimbabwe

31 July 2012

WIN Newsletter, Issue No 54


Beaven Tapureta
WIN Founder & Director

It's all happening at the 2012 ZIBF Indaba which ends today July 31. The fired debates 'n discussions, meetings with old and new people, info exchanges between stakeholders, new books being announced, etc etc. If you missed the Indaba, worry not, there is more to come on the ZIBF plate until August 4. It is indeed a hectic period. We are happy our newsletter now features four languages, that is, Shona, Ndebele, Tonga and English. Much to our vision!
We joyfully welcome Reverend Muleya, all the way from Binga, for pioneering the Tonga column. Please note that our columns The Regular Writer and Khasibhaleni are not gone.  Last but not least, the WIN writers' workshop is on Friday, August 17, 2012 at the Music Centre (National Arts Council of Zimbabwe head office), Mt Pleasant, Harare. Visit our Competition and Workshop page for more details. Thank you all. We love you.


Tinashe Mushakavanhu (pictured) , a writer and academic, gives us some highlights of the Indaba proceedings 

 (Photo courtesy of The Zimbo Jam)

Day One, July 30

After being out of circulation for the last good few years, in study exile in a very cold country a thousand miles away, it was exciting to be back at the Crowne Plaza among the local ‘book smart’ crowd. Traditionally, the opening of the Book Fair is preceded by the ‘Indaba’ – a series of plenary discussions on the year’s theme with a wide cast of speakers, local and international. The who is who of the book industry, academics and publishers are in attendance.
Mingling with this crowd is fun, especially when names on book covers or faces on TV become human friendly smiles and warm handshakes. The theme ‘African Literature in the Global & Digital Era’ is a recognition of the changing times. Most of the discussions on the first day were focused on making sense of ICT and ways of integrating it into our educational and social experiences.
Prof Ngwabi Bhebhe, Vice Chancellor of the Midlands State University, implored the African writer to play a part in the socio-economic emancipation of the continent under the not so enviable global dynamics especially as Africa is often spoken of in the most pejorative terms couched in colonial prejudices. He also challenged writers to be ‘more imaginatively expansive and aggressive’ in creating ‘more textured versions’ of our lives as Africans.
Deputy Minister of Education, Sport, Arts & Culture, Lazarus Dokora spoke a great deal about the computerization and e-learning programme that the government has embarked on and a pilot has been running at 50 primary schools and 50 secondary schools country wide. The Minister was urged to consider the need for generating content resonant with our evolving society rather than just focusing on supplying computers.
Fungai James Tichawangana and Rudo Nyangulu spoke about the inevitability for writers & academics to embrace the new media in writing, publishing and reading as technology has now become a fundamental part of our being.
Perhaps the most provocative speaker of the day was Prof Maurice Vambe of UNISA whose presentation on ‘The unbearable absence of proliferated obstacles in Zimbabwean literature’ not only questioned the lethargic nature of local writing but also the suspect critical interest of international scholars. Who are these people? What is their real interest? He mainly dwelt on the text, The Chimurenga Protocol, a novel by Nyaradzo Mutizirwa, which characterizes the Zimbabwean problem into black and white. Indeed Zimbabwean fiction lacks complexity as most of the writings use stock characters who are often unimaginative. He emphasised that, ‘writers should think in ways not anticipated.’
The two sessions of the opening day looked at African literature and Criticism and African literature and Digitisation.

Day Two, July 31

It was an early morning on the second day of the ZIBF Indaba. Mashingaidze Gomo, Albert Nyathia and Moreblessing Size gave us a dose of inspired poetry before the morning session went full swing. I was mainly anticipating the discussion on ‘Identity and Literature’ mainly because I was keen to hear Dr Vimbai Chivaura, a controversial but exciting academic whose unique perspectives challenge and probe the accepted worldview. He did not disappoint. ‘I am hear to speak about African identity and I will not apologise,’ he said. Chivaura was contesting the way language is used to define and limit the African experience in the West. Respondents questioned Dr Chivaura for preaching what he does not do as he was speaking in English and not Shona. The other speakers in the panel included Prof Katy Khan who spoke on the marginalisation of North African fiction and Dr Xavier Carelse on identity in the African  Diaspora.
Perhaps the most anticipated session was the mid-morning panel on Copyright, Access to Books and Piracy in Africa, especially the contribution of Chief Superintended Ever Mlilo of the Zimbabwe Republic Police on how the force is tackling copyright violation.  Do you know your rights that we must help you protect? CS Mlilo was adamant that writers and people in the book industry were not aware of their rights or the laws that govern them and their works. ‘We need to police with you and not just police for you.’ She acknowledged that the ZRP was facing some challenges in fighting piracy:
- there is some level of corruption among the rank and file of the police force.
- scarcity of books has increased piracy as required school set-book material is not available in bookshops. If your work is on demand make it available.
-lack of partnership between the police and the book industry
- local authorities are not playing an active role in the fight against piracy as some of the illegal works are being sold on municipal properties being rented by these rogue booksellers.
CS Mlilo commended that writers as copyright holders should become familiar with the law that protects them as the law protects the vigilant. Sibongile Jele of NUST gave a presentation on the enforcement of copyright law in Bulawayo. She noted that there is no copyright awareness or copyright education in the country. Greenfield Chilongo, chair of Zimcopy, stressed that pirated material should not be found in school classrooms. And Blazio Tafirei of Zimbabwe Publishing House implicated local publishers  for allowing piracy because they not being effective in their role. There is a lot of disunity in the local publishing industry.
The last session of the 2012 Indaba is running under the theme Threat of Globalization To African Culture and Languages.


 Sukoluhle Nyathi

{Sukoluhle is a Ndebele name that means “Beautiful Day”. Born on June 23, 1978, Sue, as she is commonly known, was raised and educated in Bulawayo.  She always has been an avid writer and started writing at the age of 10 when she would cut out pictures from magazines and write little excerpts about the men and women in the pictures.  This passion was reflected in her participation in poetry competitions for which she won several awards and accolades.  Sue holds a Masters Degree in Finance and presently works as a Research Associate for an economic and strategic planning consulting firm in Johannesburg which is where she currently resides. She was a freelance writer for the ‘Steaming Off’ column in the Sunday Mail, a local weekly in Harare. The Polygamist is her debut novel.  Beaven Tapureta (BT) had a chat with Sue Nyathi (SN) to find out more about her debut book and writing career. }

BT:     May you give us a little background of The Polygamist?
SN:     The Polygamist is essentially a story about four women whose lives become entangled because of their love for one man, the seemingly indomitable Jonasi Gomora. Joyce is his proverbial first wife. She drives a Mercedes Benz and lives in the lap of luxury. Her career in life is to be Jonasi’s lover, wife and mother to their four kids. Joyce believes she has the perfect marriage until Matipa bulldozes her way into her world and embarks on a hostile takeover of Jonasi. Matipa is a “go getter” and her biggest aphrodisiacs in life are “money, power and sex.” However, unbeknown to both women is Essie, Jonasi’s childhood sweetheart who is cloistered in the township. Essie has been around longer than both of them and has no plans of going anywhere. Then there is Lindani, a beautiful young thing whose overriding ambition in life is to be upgraded in life from girlfriend to wife. When she meets Jonasi she thinks she’s found the answers to all her problems, not knowing they have only just begun! And so as the  story unfolds, so does the danger of such liaisons in a world plagued with HIV. The Polygamist also brings to the fore issues of abuse, gender violence and rape.

BT:      What else do you write?
SN:     The Polygamist is my debut publication but I have other unpublished manuscripts:  “ An Angel’s Demise” and “Changing Faces.” I have toyed with the idea of reworking these and also getting them into some form that can be published.
I have made contributions to weekly publications. Some might remember me from the days when I used to feature on the Steaming Off Column in the Sunday News. More recently I have started contributing to an eMagazine called the Diasporan Darlings.

BT:     The book was launched in South Africa, when do you think it will be launched in Zimbabwe?
SN:     The Polygamist was launched in South Africa on the 29th of March and it has been well received.  We are going to have the Zimbabwe book launches in August, both in Bulawayo and Harare.

BT:     Normally diaspora writers' works are hardly available in Zimbabwe, do you have a new strategy to have the book readily available in Zimbabwean book stores?
SN:     Yes I do have a strategy to get the book in Zimbabwe and have been engaging with Zimbabwean bookstores. Two Bookstores, Blackstone and Innov Books have already expressed a keen interest to stock the book. Many diasporan writers make their books available online on digital format. However for some, this form of publication is not easily accessible. 

BT:     What is your advice to other writers in the Diaspora, regarding availability of their books locally?
SN:     I think writers in the Diaspora have a responsibility to ensure that their work is available in Zimbabwe. We are Zimbabwean writers living in the Diaspora and not Diasporan writers. We are making a contribution to the literary scene in Zimbabwe and as such it is of great importance to be read at home. We are the best people to tell stories about ourselves, our culture, our society, our challenges, desires and aspirations. We are writing history but in a creative way!

BT:     The title of your book is intriguing; from which perspective do you tackle the issue of polygamy?
SN:     Polygamy has been around for years. My maternal grandmother was in a polygamous             marriage. She grew up in an era when women did not work and relied on their husbands for financial support. When I asked her about          her experiences in a polygamous marriage, she aptly replied “there were             more             hands to do the work.”
However living in the 21st century where women are educated and have             careers, how does one justify the existence and relevance of polygamy? As     such my book focuses on what I call underground polygamy. You have men        who purport to be monogamous  yet we see a proliferation of the so called          “small houses”. Unlike cultural polygamy which is open and honest,          underground polygamy is veiled in dishonesty  without any      cultural underpinning.  If anything it is now motivated by greed and selfish motives     and poses more harm than good. So it was against this background that I             decided to write this book.

BT:     What is the social reality like in South Africa for a Zimbabwean writer?
SN:     Honestly speaking, I do not have the experience of South Africa as a writer, rather as a Zimbabwean working in SA. However my observations are that             SA has a more vibrant publishing and literary industry as compared to           Zimbabwe. There is greater support for local writers and supporting home          grown literature.  I think writers, whether in SA or Zim face the challenges of    getting that big break of being published however the opportunities here are greater for writers. Moreover, writers can explore other avenues like script             writing and free lancing for various magazine publications. There are some        writers here who are able to survive from writing. Look at the success of John          van de Ruit, author of Spud which is now a movie. Ho those are far and        few between.

BT:     Do you write full time or part-time? If part-time, what else do you do?
SN:     Writing has been a hobby that I have nursed since age 10. Besides studying English Literature at school I do not have any formal training or education as a writer, what I know I have learned along the way. I have a Masters in Finance and Investment and work full time with a consulting firm. The nature of consulting work can be very demanding and the hours erratic so I don’t get to write as much as I would love to. So for now I write part time.

BT:     Are African women writers getting the support they need?
SN:     You know I really don’t know. Would this be support in terms of financial support, mentorship, work shopping? The thing is that I am really cut off from other writers because of the nature of the work I don’t get to interact with a lot of writers. I need to start thinking of myself more as a writer than as a consultant!  However I feel through my writing I can be a voice for women.  However what I do know is that I did face challenges as a young African woman wanting to get published.   If I think of the number of years I unsuccessfully tried to get published in Zimbabwe. Doors were closed in my face. It was a tight knit community and if you weren’t writing like Dambudzo Marachera, Yvonne Vera or Shimmer Chinodya you were dismissed with a wave of the hand. Literature has many genres and I think the writing sphere has to be accepting to different forms of expression. We are a totally new generation of writer with a new voice who need to be embraced.

BT:     Which book are you reading?
SN:     The last book I read was the “Ascent of Money” by Niall Ferguson.  I’m not reading at the moment. I have been meaning to get started on Jean M Auel, The Land of the Painted Caves. I bought it 3 months ago and it’s sitting on my book shelf begging to be read. To think I waited over 7 years for this book and now that I have it I don’t have the time to read it! It is the sixth book of Jean Auel’s Earth’s Children® series, a series I started reading in high school. Once I’m finished with my July deadlines that is what I will be reading.

BT:     If you were to win an award for the Polygamist, whom would you dedicate it to?
SN:     I would dedicate the award to my parents. The Polygamist is actually dedicated to them. The book is very special to me; it’s a culmination of all my hard work and dreams. They gave birth to me and I in turn gave birth to this. This does feel like my first born child and so it would be appropriate to dedicate it to my parents.

For those who want to interact further with Sue, you can follow her on twitter: or visit the Polygamist Facebook page         Her website is currently under construction

Moira Marangwanda


As mentioned in the previous article, scriptwriting is in two forms that is one for the stage and one for the camera, so this issue will mainly focus on scriptwriting for the stage.
When you write for the stage, you have to bear in mind that the ultimate goal is to have the play staged in a theatre or any other theatrical space. As a result you should think in terms of images thus enhancing you to be more vivid in all aspects. Because theatre is spontaneous you should hit the audience when they least expect it,  it means that you need to invest a lot in dialogue. Dialogue should be stylistic, witty and should at least have a subtext (hidden meaning). Some unsuccessful writers tend to write neatly and this jeopardizes the whole play because in real life people do not speak neatly, we speak randomly so likewise, that is the stance that you should also take to make your script more appealing and natural.
It should be noted that dialogue comes in two forms; verbal and non-verbal. In as much as you pay attention to verbal dialogue you should also not sideline the non-verbal part of it. Dialogue and action should compliment each other. Usually, actions are written as stage directions and they drive the pace of the story. It is said 'show but do not tell' and this guides you to be vivid to bring out the spontaneity of the theatre.
Feasibility also plays a pivotal role in writing for the stage. This is so because there are some things that can not be enacted on set. Although this may be left for the director to worry about, it is also essential to consider feasibility. Such events can be mentioned in dialogue so you have to be careful about the events that you mention.
As you write your events they should have dramatic potential i.e.  the potential to emotionally, spiritually and psychologically engage the audience. This can be achieved by providing spectacle; something that is outstanding and appeals both visually and acoustically. Moreover, emotional shifts should also be included because a play that begins on a happy note and runs like that through to the end without twist and turns is bound to be less appealing. Be sure to include some twists and turns so that the emotions of the audiences change, for example, from anger to hatred to admiration to sympathy and so on. This brings about the catharsis concept popularized by Aristotle. Catharsis is a Greek word for purgation and according to Aristotle a play should be cathartic which means the “vicarious cleansing of emotions in the audience through their representation on stage”. That way your writing will be pedagogically friendly as you will also provoke the audiences to begin thinking and asking themselves questions. A good writer should also be able to leave gaps so that the audience may be able to fill in the gaps on their own.
I hope this helps our aspiring scriptwriters out there. More in the next issue. For now, bye...



Na Clever S Kavenga

                                                        DAI KASIRI KAKUTYA AKA!

Mavambo ndamusiya achienda. Chikamu chekumuperekedza chakwana.
Ndatanga kudzoka ndakaisa maoko angu muhomwe, ukuwo ndichitsvororidza kamuridzo kangu hangu, kuzvivaraidza ndichidzinga pfungwa dzekakutya kari mandiri.
Kakutya kanditadzisa kutaura zvaive kutsi kwemoyo wangu.

Ndacheuka kutarisa kwandabva ndokuona Mavambo achimo munzira. Arikufamba zvake sezvinonzi haasi  kutsika pasi. Kuita sekuti pane mhepo iri kumutakura. Ndaramba  ndakamutarisa ndoonawo kuwanda kwemaruva ari pakati pangu naye Mavambo. Iye Mavambo kanawo kumbocheuka nhai nhai? Dai aicheuka handiti aionawo maruva!? Maruva akanga ari pakati pedu tiri vaviri. Maruva handiti anofambidzana norudo? Kuti ndanyeba here apa?

Zvino dai ndirini zvangu inini Mavambo ndaitemha rimwe chete zvaro ruva rakatumbuka.
Ndairibata zvakanaka ndoritenderedza. Ndainyatsoriunza pedyo nemhino dzangu ndorimhuhwidza ndichinzwa kamunhuwi karo kanonhuwirira. Pane rudo hapanhuwi asi kuti panomhuwirira nokutekenyedza. Apa pakadai aibva ayeuka rudo rwangu rwandaidai ndamuudza zvataive tiri tese paye. Ainyemwerera chete kana kutomboridza kakuwe kekuseka ari ega. Achingoti zvake, ‘Rungano uyu Rungano anopenga chete!!’

Hongu ndaramba ndakamutarisa munzira maari, zvino ava kure achingoenda. Zvinhambwe zvaarikufamba nekuwandawo kwazvo zvirikumubvisawo mumaziso angu. Izvi hazvindiodze moyo nokuti zvandiri kutarisa zvinovaraidza meso angu uye nokunyevenutsa moyo wangu.
Ndambozvituka ndichiridza tsamwa. Ndabhutsura chidzutswa cheuswa hwanyanhuru chiri pedyo nepandiri nehasha dzokuti sei ndasiya munhu wandinoda achienda ndisina kumuudza zviri pamoyo pangu.

Handiti zvaive pamuromo ndozvakakurumidza kubuda zvichisiya zvaive zvakanyatsorongwa mumoyo zvichinge zvakatsitsirirwa nematombo aida kuzototsidigurwa. Hezvi hoyo Mavambo ari kutoenda pasina chaanoziva pazvinhu zvandinoziva. Dai kasiri kakutya aka!Izvozvi dai chisveru ichi chava kwaari! Ndingadai ndirini ndiriwo kumirira nguva. Ndizvozvo kumirira nguva yokuzonzwawo zviri pamoyo pake.

Asi ndinodzoka ndotya zvakare, ‘Ko akazoti hongu ndada hangu!! Ini ndozodii?'
Ndomutengera maputi here kana kuti mabhanzi? Ndokwira gomo ndichinomutsvagira mhoriro kana Manawa kudambo reManawa? Tsombori dzingaite ndokunge ndasvika kumachinga eMurutsi kana eNyapundo! Asi achizozvitambira here?

Ndinoguma nekunyemwerera.

Pandatarisezve nzira yafamba naMavambo ndaona ava kure kwazvo, ndaita zvokufungidzira kuti anenge ndiye uyoo…Wangu moyo wongoti – ‘Dai wamuudza izvozvi dai ari kufamba mukati memashoko ako. Paaifamba achionawo aya maruva auri kuona munhivi dzenzira aya pada hake aizofambawo achitungira maruva aya pamazwi ayo waive wamuudza. Asiwoka zviri paviri: Pada aizofambawozve achitanhaura iwayo mashoma maruva aive pamashoko ako achizosara akamira ega. Waihwina ipapa??’

Pfungwa  yokurambwa inombondishanyira asi handidi kuti ipfunye chisero mandiri. Ndiyo pfungwa inotsitsirira mazwi erudo rwangu kuna Mavambo kuti agoramba ari mandiri. Ndaridzazve tsamwa pakusafarira pfungwa idzi. Ndangoerekana ndotarisezve nzira yaenda naMavambo wangu. Handina kuona munhu! Hana yarova , kakutya zvakare!

Zvino ndatanga kufamba zvangu zvinyoronyoro ndichibva panzvimbo iyi. Ndichifamba kudaro ndaona kasvosve, kasvosve kadiki diki zvako kakatakura chitakurwa chako. Kafamba pamwe kombotura, kombofamba kachitenderera kachitsvaga nzira. Kadzoka kachitakura kamutoro kaye kopfuurira mberi nerwendo rwako. Zvambondiba pfungwa.
Izvi zvaive zvandipangidza shungu dzekasvosve aka, kwaive kusvika nemutoro wako kwakaive kakananga ikoko. Kasvosve, kasvosve hongu kasvosve kaye kasvika pamuzinda paive nemamwe masvosve. Kapinda mumuzinda koperekedzwa nemamwe masvosve achiita seaipemberera nokumhanya mhanya kwavo.  Karufaro aka!

Ndatura mafemo. Rufaro rwakadzama kwazvo rwunounzwa nokusvitsa mutoro panzvimbo yawo yakakodzera. Ndacheukazve shure hapana munhu wandaona kusiya kweguruva rapfumburwa nemhepo! Maoko ari muhombodo ndichifamba zvangu nhereka nhereka nekukuwo ndichitsvororidza kamuridzo kangu. Ndaramba ndichifamba...naye Mavambo mundangariro.


Bwaswayilwa buTonga
Ngu Reverend Jeffrey Muleya

Ndamwaambuuzya nobabali bamakani achiTonga mupepamakani eeli. Sunu ndiyanda kumwaambila atala amuswaangano mupati wakwaabana maanu alangene aamulaka wachiTonga, kusumpulwa kwawo, kuyisigwa kwawo muzikolo, zyeelede kuchitwa kubambila kubikilizigwa kwawo mumulongo wayimwi yakasumpuka kale iilikuyiisigwa muzikolo. Ooyu muswaangano wuulikidwe kuti ni “University of Zimbabwe-Tonga Symposium”
Ulikuchitilwa aNsikilabeenzu ya Kulizwe iyakilidwe munkomwe yaKasambabezi, mubbooma lyaBinga. Ino nee ma! Kulivunzeenwe. Basyaangwilima, basyaabusongo abasichikolo bamuzikolo zyaajulu {University of Zimbabwe, Hillside Teachers College, Midlands State University, Great Zimbabwe University, Uinversity of Zambia, Lupane State University}. Bamwi bazwa kulliimwi mitabi iilimbuuli Zambia Educational Publishing House, Open Society Initiative for Southern Africa, Silveira House, Basilwizi, aNkamu yaZimbabwe Indigenous Laguages Promotion Association {ZILPA) antoomwe Tonga Language and Culture Committee {TOLACCO}iyabani mulaka.
Wakatalika abwatatu kuseni. Ulamana abwasanu sikati. Eechi chichitiko nkuzuzikizigwa kwachiloto chabamataata antoomwe aswebo tobasunu. Mulaka wakali waloba. Twakali twaangalikilwa, pele anzitulikubona eezi twajana bulangilizi. Katuli baTonga muZimbabwe tuli akupeekezya kwakuti:
1. Kulaba kutobelezya zitazwe amuswaangano, peepe kuti baliwo bazisambe akuzisiya azyuuno nzibakkede mbuuli nzitwalikubona mazuba woonse aya ayinda. Munyama ngutwavwima nobenima ngafundwe ayokwe.
2. Eezi tazimanini kubaTonga biyo pe. Lino twaamba boobu kulimilaka imwi isika kumusanu kutabikilizya chiTonga yeelede kutalika kuyisigwa muzikolo zyakutangunina munyaka nguuno (2012), zimwi mumunyaka uuza (2013). Aatala ayeyi kuliimwi ayilayo iyanda kusumpulwa iyinda kukkumi amusanu. Ayilayo, mubwiingi bwayo, iyanda kuchitilwa mbuboobu.
I UZ abamwi bakagwasizya kubamba muswaangano ooyu tulabalumba kapati. Leza abalongezye kapati. 


 Deadline Extended to 17th September 2012

The deadline for the Kwani? Manuscript Project, Kwani Trust's new literary prize for African writing, has been extended. You now have until 17th September 2012 to submit your unpublished fiction manuscript and be in with a chance of winning both cash prizes and international publication for your novel.
In addition, Kwani Trust will be launching a series of essays by leading African writers on writing. Including contributions from Aminatta Forna, Leila Aboulela, Ellen Banda-Aaku and Helon Habila, the essays will offer advice, support and inspiration for developing your novel manuscript over the next 2 months.

 For more info, visit:


26 July 2012

# 54 round the corner

Issue # 54 is in the factory. Got something to share?
 Send it now

20 July 2012



WIN is happy to announce that your response to the short story writing competition has been phenomenal.However, students have been complaining about the pressure of the examinations that have come earlier than anticipated and how dificult it has been for them to balance their writing. So we would not want anything to disturb your writing. We are going to be generous to all of you who have not yet finished and submitted their stories by extending the deadline from July 20, 2012 to August 10, 2012. Happy writing writers and keep the stories coming. Remember, the written word is powerful Toodles….

For more information do not hesitate to contact:
Mobile: +263733257752

17 July 2012

WIN Newsletter, Issue No 53


Beaven Tapureta
WIN Founder & Director

I welcome you in the name of writing. We are every month moving from one writers' event to another and it is always good to be with others who share the same interest. Check the dates and places and make sure you are there. The value of meeting other writers lies in the information exchanged, networks created and opportunities shared. We welcome Tsitsi Nomsa Ngwenya, our new Ndebele columnist (Khasibhaleni). Please enjoy!

By Beaven Tapureta

Shimmer Chinodya (above) and Chiedza Musengezi (below) were the main presenters at the ZWA Writers' Meeting on July 7, 2012

Chiedza Musengezi

Renowned and prolific novelist, poet, textbook and script writer Shimmer Chinodya has urged fellow writers to engage in writing activities that buy them time to write.
Speaking last week at a writers’ meeting held at the British Council, Chinodya said he would not have made it had he concentrated on fiction only.
The award winning author stressed the importance of educational writing as another route to a successful writing life because it has power to shape the minds of students across the world.
Chinodya said textbook writing, which demands discipline and which he has successfully tackled over the past years, has helped him connect non-fiction and fiction and it paid off.
“I enjoy doing this. I feel I am educating millions of children,” he said.
Chinodya’s textbooks such as the Step Ahead: New Secondary School English Course English series in which he said he employs a literature-based approach are being studied by thousands of students across the SADC region.
The textbooks have been in schools since 1992.
“When you write textbooks, you are still a teacher, the supreme teacher and this is how I feel today,” the veteran educationist said.
Narrating how he became a writer, he said he was already writing poems when he was in Grade Five although he knew he was going to be a teacher and writer.
Chinodya said writing, during his teenage years, was like an act of self-empowerment or making up for a certain inferiority complex.
“I was small, skinny and shy,” he said.
In 1971, while doing Form One, he published his first work. From then onwards, he said he was drawn towards teaching although he was artistic.
The Two Tone magazine which published poetry by young writers at the then University of Rhodesia introduced him and other writers such as Dambudzo Marechera, Kizito Muchemwa and Stanley Nyamfukudza to the world of literature which he pursued through and through.
And still, the teacher inside him pushed him to take up a post-graduate teaching course.
Chinodya, who to date has written about 40 textbooks, said it is only these days that people look down upon the teaching profession.
“During our days we used to read around the world and this strengthened our literary background,” said Chinodya who however acknowledged that textbook writing in his time was easy as compared to today as the educational ideology has been made to look vague.
A clear educational ideology is important in every country, said Chinodya, as it guides textbook writers in understanding the culture and vision of the country they are writing for.
Chinodya said yes he has been hurt and disappointed but professionally he has led a happy life. No doubt this happy life has been an inspiration to other writers in Zimbabwe as well. He challenged writers to give themselves totally to writing.
Asked by fellow writer Aaron Chiundura Moyo how he has coped with drinking as a writer, Chinodya said now it’s better and he’s sobering. He encouraged other artists to desist from the habit.
“At fifty, I am sobering. But there’s a natural drunkenness in me. I love people, I love to talk,” he said.
Another well known writer and editor, Chiedza Musengezi, concurred with Chinodya on the need for writers to explore different kinds of writing.
“Explore and expand writing skills to cover several things such as places. Give ordinary things some value through writing,” she said.
Musengezi told writers that there are lots of writing genres apart from poems and stories, such as nature writing which involves writing about places.
“If we do not recognize places in our country no one will do it for us. Nature writing links us to our land. This genre is gaining importance in Europe,” said Musengezi.
As a woman writer, she said she is driven by the need to restore women’s voices in the public spheres.
She said for women to be taken seriously, they have to be discussed at the highest level and this is what she wants women voices to be because their experiences contribute to the nation’s history.
Musengezi, who has published poems in Shona and stories in English, has been an editor for a long time and she said editing, which entails choosing a manuscript and editing it, is a huge responsibility and it is not a one-man show.
She said an editor bridges the gap when crucial texts are absent and this, she said, means that an editor has to ‘create’ a manuscript.
A founding member of Zimbabwe Women Writers, Musengezi showed writers publications which she co-edited such as Women Writing Africa The Southern Region (Feminist Press, New York, 2003), a project which dug up African female voices which had lain long in the archives dating back to 1904. 'A Tragedy of Lives: Women in Prison in Zimbabwe' (2003), another book she co-edited and published by Weaver Press, exposed experiences of women in the prisons of Zimbabwe. Musengezi also co-edited Women of Resilience: The Voices of Women Ex-Combatants (Zimbabwe Women Writers, Harare, 2000).
She also worked for the Baobab Books as editorial manager. Baobab Books published children's and young adults' literature and school textbooks.
In as much as local writing has developed over the years, she condemned the unavailability of textbooks at tertiary level written by Zimbabweans.
“We must develop our own material for our students,” she said.
A short break of poetry saw David Mungoshi rendering his favourite called An Old Song which he said is originally in Hebrew. Ndebele writer and poet Jerry Zondo later did a closing poem that suited the purpose of the meeting called ‘Vabhali’.
The meeting was the fourth of ZWA’s interactive bimonthly meetings which it is organizing under a common theme ‘How I create’. The meetings are a platform for different artists to discuss how their creative processes work. However, the July 7 meeting was held under the topic ‘Balancing Creative Writing and Textbook Writing’ as it focused on writers who double as fiction and non-fiction authors.
ZWA Board Chair, Musaemura Zimunya, said apart from these meetings, his association is preparing for the Bulawayo and Mutare outreaches. ZWA’s Gweru outreach held few months ago went very well.
On another note, Zimunya encouraged writers to attend this year’s ZIBF Writers Workshop which will be held under the topic ‘Beyond the Script’, saying this is an occasion for writers to engage publishers, editors, book reviewers, for they influence the way writers’ products are received by the public.

ZIBF 2012

THEME : “African Literature In The Global & Digital Era”
ZIBFA invites all interested parties to participate in the special six-day event as follows:

“EXHIBITION” Venue: Harare Gardens, Julius Nyerere Way
ADMISSION FREE!!! to the Exhibition
Dates: 01 August 2012: Open to Traders Only
02 August – 04 August 2012: Open to Students and The Public
Time: 1000 – 1700hrs
“INDABA CONFERENCE” Venue:  Crowne Plaza Hotel :
By Registration
Day 1:  30 July 2012  0815 - 1700hrs
Ø  African Literature and Criticism……………………….…………………..
Ø  African Literature and Digitisation..………………………………………..

Day 2:  31 July 2012  0830 - 1700hrs
Ø  Identity and Literature In Africa.………………………...............................
Ø  Copyright, Access To Books and Piracy In Africa……................................
Ø  The Threat of Globalisation To African Culture and Languages..……….

‘Young Persons Indaba’!!  Creativity In The Digital Era
Date:  01 August 2012 By Registration
0830 - 1630hrs at Crowne Plaza Hotel
‘Writers Workshop’!! Beyond the Script: The Writer, The Publisher and the Critics
Date:  04 August 2012 

By Invitation
If you wish to participate please register for the workshops by 19 July to avoid         disappointment!!
1000 - 1600hrs 02 August – 04 August 2012 ADMISSION FREE!!!
For further details contact us at ZIBFA on: 04 702104, 704112, 702108, 702129
Email :


Moira Marangwanda


Just like molding pottery or carving a stone, scriptwriting is so much fun because you get to create a world of your own and add flesh to your own words. It involves hard work because you have to research on the subject matter you would have picked and it also requires your own thinking which reminds me that “unless you say something of your own, you are not an artist!”. Basically, there are two types of scriptwriting, that is, one for the stage and another for the camera however, in this issue I will just look at the basics in scriptwriting.
Firstly, a script writer does not deal with a storyline or characters, but handles conflict. It can be defined as the fundamental struggle or imbalances involving ideologies, actions, personalities to mention but a few. Without conflict a story operates without structure and characters exist without purpose and dialogue is spoken without effect. So conflict addresses the ‘what’ of the story. For example, a writer must ask him/herself what the characters are fighting over in order to engage in story exploration. Thus conflict is very vital.
Characters are the people that live in the world of the story and they happen to be your creations. Although they are your own creations, they have to be realistic. A person’s character is made up of the three-dimensionality, that is, the physical, psychological and sociological attributes. These three affect and influence each other in such a way that a person’s character is made up. Hence in your creations these are some of the things that should be included.
It should be pointed out that the driving force in any given work or fiction is the dark shades which the script contains. These dark shades resemble the underlying story points that any given script works to reveal truth to an audience. Therefore, the art of writing is possessed within the art of withholding information. A writer must be able to manage the information that they give out in order to sustain the interests within the audience.
Moreover, the plot of the story is also vital in scriptwriting. The plot of the story is basically the arrangement of action designed to tell a story. A good plot is filled with dozens of actions, performed by characters with needs and wants and this creates the “cause and effect” as the other characters will create further actions in their endeavors to overcome obstacles or create obstacles.
Dialogue is also crucial because this is what gets the characters going. So neat dialogue where characters wait for each other to finish speaking and exhaust a certain topic before moving to another is a no-no because in reality that is not what happens. Language also contains the rules of thinking so you have to be very cautious about your language/diction. Moreso, setting should not be forgotten as this prepares the mood for the action so one has to bear in mind the place of action.

Let’s meet in the next issue for the second part of this discussion. Should you have comments or contributions, do not hesitate to send them.


Tinashe Muchuri

Exclusive Interview with Botswana's Leshie Lovesong



Lesego Nchunga (LN) is a 23 year old Motswana poet, born and raised in the city of Gaborone, but her clan is from Kavimba, a village in the Northern District of Chobe. Performance art has always been her passion, especially spoken word poetry. Below is an exclusive interview she had with The Regular Writer (TM).

TM:     In 2007 you were regarded as the youngest talented poet to watch out for in the near future in Botswana, do you think you have kept that momentum?
LNN:   I am no longer the ‘youngest poet’. However I believe that my progress in the way I write and perform my poetry is reason enough to keep your eye on me. It is safe to say I have grown, and change comes daily. The most exciting thing about being a growing artist, and perhaps generally is the liberty or freedom to try out new things as often as possible.

TM:      In 2010, you took part in the SADC Poetry Festival, do you think these platforms are beneficial?
LNN:   The SADC Poetry Festival introduced me to people within the region who have made their passion a movement. People who do not just perform, or create and display their artwork, but most who make a livelihood out of it. I was encouraged to believe that there is life in the art after all. In fact, the greatest gift I got from the Festival was the eye opener that collaborations in art don’t necessarily have to be limited to the groups from which the art forms fare. That a form of vocal art can be paired with a form of visual art to produce an extraordinary artful fusion was an experience I wish to share with other artists. It’s like a meeting of two senses. What you hear reflecting what you see!!!

TM:     What's the latest that has happened to you after the SADC Poetry Festival, that you want to share with readers?
LNN:   Since 2010, besides corporate performances, I have traveled to Luanda,  Angola and Rundu, Namibia, primarily as an actress, but I got the opportunity to enhance the scripts from which we were acting by incorporating poetry in them. In both places, I performed the poetry accompanied by theatrics enacted by other performances. I have since explored the magnificence of collaboration of different art forms.

TM:     Have you produced anything so far like an album?
LNN:   I have not yet produced any albums on my own. I have however taken part in production of two audio anthologies called Dreaming Is A Gift For Me and Awakening. The first is a non-musical poetry anthology produced under SAUTI Arts and Performance Management, and it showcases twelve Batswana poets. The latter is a collection of six feel good poems, which can also be called ‘Affirmations’, the main idea being to heighten the perceptions we have of ourselves and our actions daily, in an effort to send out positivity, under the themes of Relationships, Health, Wealth, and others.

TM:     How is poetry appreciated in Botswana?
LNN:   The appreciation for poetry is growing and changing in Botswana. Initially, it was more for the individual art lovers. However with the emergence of more poetry groups around, organizations have been forced to pay attention and this has elevated the poetry industry to a level, almost close to that of the music industry.

TM:     What do you think makes you different from other poets?
LNN:   We all have very different stories to tell. And even where our stories overlap, the way we tell them are different. I am an abstract speaker, in my narrations. Others are storytellers. You will know my performance by not just my voice, but my use of grammar, intonation and phrasing, which is different from most other poets in Botswana. Also, and most distinctly, you will very rarely see me on stage without hearing me heavily accessorize my poetry with singing. I am both a singer, and poet, and I feel together, the combination sets me apart.

TM:                 What do you think about poetry in Botswana and Africa as the whole?
LNN:   I think there is a continued uprising in poetry as an art form. We are becoming aggressive in taking our stage. That will definitely immortalize poetry. We are distinguishing ourselves from other forms of performance arts. Eventually, more poets will be able to live off the craft.

TM:     Who is your inspiration?
LNN:   Internationally, I love the work of Sarah Kay. The complaint people usually have about poetry is that it sounds complicated, and it’s not easy enough to understand. Her work is simple, humourous and tells stories which are fun. She is young, and she speaks of things close to her heart. For that reason, I am drawn to her. Also, I love Ezekiel from the PFCM group! His work is intense and challenging, spiritually. Locally, Mandisa Mabuthoe’s work reminds me of Laura Beuke’s book Zoo City. Abstract work pushes the mental boundaries and inclines you to think out of the box! In fact to throw the box away! The work of TJ Dema also appeals to me. She is a story teller, and she has carved out a path for not only herself but many others who will come after her. The young poets in the industry in Botswana are also inspiring. Their tireless pursuit of ‘the word’ even if it means sitting out in the rain on an Tuesday evening, at a local café, just so they hear what the mic has for them is moving, to say the least.
Outside the poetry industry, I read a lot of African literature, which also plays a big part in my artwork. The works of Ngozi Chimamanda Adichie, Kopano Matlwa, Wame Molefhe, and Pentina Gappah are some of those which have inspired my work in many ways.

TM:     What issues do you discuss in your poetry?
LNN:   For the longest time, I did what I call entertainment poetry. I wasn’t really addressing any issues directly or intentionally. Occasionally, I would write about social ills and degradation or of women in society. Recently however, I encountered nature as a person, and she stole my heart. I was struck by the realization that as human beings, we have become so consumed in ourselves, and bettering our own interests, that we ignore our surroundings, and the other species which exists around us, in so far as it is convenient for us. For as long as we do this, our lives will continue to depreciate in substance and in value. If we don’t respect nature and the other beings which co-exist with us on earth, they too will rebel against us. There’s enough space for each of us to be, without further deteriorating the little that is left. Being selfish is what has ended us up with a tattered ozone layer, and a handful of rhinos left. How much more do we honestly want to destroy until we finally wake up to the reality that what is important is a compromise, and quite frankly, for too long, humans have been taking, taking, taking and not giving back a fraction of what we have taken. So this has become a prominent theme in my poetry lately. The appreciation of other beings.

TM:     Does your family appreciate your performing career?
LNN:   My family is VERY supportive of my career as a performer. Although I am a lawyer by profession, it is obvious that art is my first love. My parents have never discouraged me from anything performance art related. Their guidance has always been in the direction of my treasures. I was raised to harness, hone and explore my talents, especially in the arts. In fact, if you ask my mother, she will tell you that she believes I should have already published my first book by now. She knew I was an artist before even I did. So it is easier for me to be an artist with their support.

TM:     What else would you want to tell the readers and all your followers out there? 
LNN:   I would like everyone to keep the art alive. It’s up to each of us support this industry. Your support is truly meaningful; whether it is buying a CD instead of writing it, funding, or even being an audience member and admirer, you make the difference. Eventually, with our combined efforts, we will make the performance industry a prominent industry.
As far as Leshie Lovesong is concerned, before the lapse of 18months, I will certainly deliver an offering. Thank you very much for the encouragement and keep believing in us poets.


Na Clever S Kavenga

Rwendo Rwangu Mukunyora Shona
Kana wafunga zvokunyora rwendo rwunotoda kusunga dzichisimba nokuti vazhinji vanongogumira munzira. Handiti rwendo rwemunyori unototi wasvika wavemo kana zvinyorwa zvadhindwa mumabhuku kana mumapepanhau kana ma “magazine”. Zvino kana uri munyori anonyora ne Shona zvinotoda kutowana. Chokutanga vazhinji vakanzwa kuti uri munyori vanongofunga kuti unoyora neChirungu sezvo Chirungu chiricho chinonyanyotariswa nevakawanda nevanoda kana kuti vane chipo chekunyora. Neniwo wacho ndakatanga nekunyorawo nechirungu mazuva angu ndiri pachikoro. Idzi inhetembo dzakabudiswa neParade Magazine dzakaita sa No Peace, No Hope, na Tell Me My Dear Africa. Kwaive kufamba murwendo rwangu rwekunyora. Nhetembo dzeChishona ndaive nadzo asi hapana kwekudziendesa kwandaiziva. Ma “magazine” ose aiburitswa panguva iyi akaita se Moto, Parade ne Horizon aingoburitsa zvinyorwa zvavo neChirungu.

Pandakazoonana navamwe vanyori tichipanana mazano ndipowo pakatanga kuona zvinyorwa zvangu zveShona mukana. Zvinyorwa zvangu zvakazoonekwawo zvichibuda muTsotso, ka magazine kaiburitsa zvinyorwa zvevachiri kusimukira. VaIgnatius Mabasa, anova munyori mukuru nhasi, vakaonawo zvinyorwa zvangu vakazondipawo mukana wokuti ndinyorewo mu ‘column’ yavo mupepa reKwayedza yainzi, “Tamba mwana Tamba”. Zvinyorwa zvangu zvakatanga kudzika midzi mumutauro we Chishona. Hongu ndaibhadharwa asi mari handiyo yakandikwezva kuti ndive Munyori. Chakatanga chipo icho ndinogara ndichipa kutenda kunamai vangu vakashaya. Takakura vachititaurira ngano munguva apo vaive vapedza kupupura. Izvi zvakapa kuti ndive noudaka hwokunyora zvinyorwa zvangu.
Hongu zvinyorwa zvangu zvaive zvoburitswawo muma magazine asi ndaive ndisati ndasvika. Shungu dzaive dzekuti ndiburitsewo zvinyorwa zvangu mumabhuku. Ma Publishing Houses aitoita sevanhu vemunhu mumwe. Pamwe vaidzorera zvinyorwa vachiti zvinoda kugadzirwa kana kuti zvinyorwa zvakanaka chose asi havana hurongwa hwekuburitsa mabhuku ezvinyorwa zvengano kana nhetembo mukati memakore anotevera. Apa ndaitomboti zvekunyora izvi regai ndisiyane navo. Asi hazvaitora mazuva ndaierekana ndabatazve zvinyoreso nemapepa. Chinhu chaiitika kuti ndirambe ndichinyora kusangana kwandaigaroita nevamwewo vanyori tichikurudzirana. Hongu panoitwa chiro pose panoda vanookera nokuti ndiwo vanopa manyukunyuku kune vanenge vari mudariro.
Mugore ra1997 ndakazoitawo mhanza nhetembo dzangu pfumbamwe dzikasarudzwawo kupinda mubhuku rinonzi “Ngoma Yokwedu” iro rakatsikiswa nemusangano wevanyori vachirikusimukira wainzi BWAZ. Apa kana neniwo ndakabva ndaziva kuti murwendo rwangu rwokunyora ndavakusvika. Zvino watombova nezvinyorwa zvakaburitswa mubhuku unenge wofunga kuti nezvinyorwa zvauchazonyora inenge yangove nyore. Zvino munyaya dzokunyora hazvidaro. Apa ndipo unosangana nezvigutswa zvakatiwandei munzira, uchigumburwa nematombo zvakanyanya. Vamwe vanoziva vanoti kana uchida kuva munyori verengawo mabasa anonyorwa nevamwewo vanyori. Ndakazosangana nerimwe bhuku renyaya dzevana vadiki. Ndakafarira musoro wenyaya yacho ndokutenga bhuru iri. Ndakazoonawo kuti vakaburitsa bhuku iri vaive vatsva ndikati neniwo regai ndiedzewo mhanza. Semunhu aive nengano dzevechidiki dzakati wandei ndakadziunganidza ndokutumira kukambani yemabhuku iyi. Nekufamba kwenguva vakazondiudza kuti vaive vafarira imwe yengano dzandaive ndatumira. Mashiripiti Edehwe raRungano rakazova bhuku rakaburitswa mugore ra2007. Muna 2008 bhuku iri rakasarudzwa kuva rimwe raikwikwidza mumakwikwi e NAMA (National Arts Merit Awards). Mugore iri zvakare rakazosarudzwazve kuva ndiro “The Best Childrens’ Book” neve Zimbabwe Book Publishers Association.
Semunhu aingogara achinyora zvinyorwa nguva nenguva ndakazoendawo kune rimwe ramapepa anobuda muguta reMutare. Pandakazoudza Editor wacho kuti ndirikutsvagawo basa rokuva “columnist” mupepa ravo akati ndimupe zvinyorwa zvacho. Paakazviona zviri zveChishona akandidzora achiti aifunga kuti zvaive zveChirungu. Mukuru uyu akati kare vaimbova nepeji raive rakamirira zvinyorwa zveShona asi vakaribvisa nokuti hapana vanyori vaifarira kunyora neShona.
Ndavakubuda muhofisi umu imwe pfungwa yakandishanyira ndokudzokazve kuna Editor vaye ndichitambidza mapepa aye aive netwunyaya twangu. Ndakati vanoverenga zvavo vari kumba kwavo. Vakaatambira vachibvuma chikumbiro changu . Mushure memazuva mashomanana vakazondifonera vachiti vaida kundiona. Ndakaendako ndokusvikogamuchirwa nemashoko aifadza ekuti ndaive ndawana mukana wokuva “columnist” wavo;  peji riya reChishona rakabva radzokazve  mupepa nhau iri. Muna 2010 column iyoyi yakazosarudzwazve kupinda muma NAMA. Gore rinotevera yakava inodomwazve pama “special mention e NAMA” zvakare.
Urwu rwendo harusati rwapera. Ndinoziva kuti zviripo zvizhinji zvandinofanira kunyora.


The Zimbabwe Writers Association (ZWA) is having an outreach meeting in Bulawayo on Saturday 21July, 2012 at the Bulawayo Art Gallery at 09:00 - 12:00. Leaders of writers associations and individual writers who may or may not necessarily belong to literary associations around Bulawayo are all invited to this get-together.

Our outreach would take the shape of introductions of associations and individual writers, followed by an open exchange of problems, challenges, ideas etc as the basis of consultation. On our part, we shall introduce the idea of ZWA and its constitution to Bulawayo and what we have managed to achieve thus far and how beneficial it has been to writers. In other words, it is really an open ended occasion.
The Zimbabwe Writers Association (ZWA) is the newest writers Organization whose formation started in July 2010 leading to the AGM of June 4, 2011. Zimbabwean writers have taken the initiative to coordinate themselves to form an organisation to represent them and defend their interests. ZWA was registered with the National Arts Council in January 2011. The birth of ZWA was a culmination of self initiated efforts and activities taken by Zimbabwean writers of diverse backgrounds.

Our contact person in Bulawayo is Raisedon Baya.
Inserted by Musaemura Zimunya
Chair, Executive Committee, The Zimbabwe Writers Association

MEMBERS: M B Zimunya(Chair) E Hwede(Deputy Chair) T Muchuri(Secretary)
B Sithole(Treasuer) K Ratsauka(Resource Mobilizer) D Mashava(Ordinary
Member) M Chirere(Ordinary Member)

With Tsitsi Nomsa Ngwenya

Umhlangano Wababhali

Zazimhlaka  7 Ntulikazi 2012 mhla ababhali bebuthene  emahofisini eBritish Council eHarare. Lo wawungumhlangano wababhali abangamalunga eZimbabwe Writers Association (ZWA) ababhala besesigodlweni eHarare. Inhloso yalomhlangano wawuyikulinganisa ukubhalwa kwezi ndatshana lokubhala amabhuku asetshenziswa ngabantwana bezikolo. Owayephethe lumhlangano nguTshalimana, umphathintambo uMusa B Zimunya wase University yeZimbabwe. Ngemva kokwethula abalobi wanika owayezakhokhela lumhlangano uMemory Chirere owathi ngemva kokwethula lokuhlonipha abahlonitshwa wanikeza isikhathi kumlobi olodumo uMnumzana Shimmer Chinodya. Umnuzana Chinodya awakhuthaza kakhulu abalobi ukubana ekubhaleni kwabo bananzelele ukuthi babhalela ukufundisa uzulu kanye labasakhulayo konke okukhangelelwa kuqakathekile empilweni yomuntu. Wakhumbuza njalo ababhali ukuqakatheka kwamabhuku abawabhalayo. Umbalisi endlini yokufundela usebenzisa ingwalo  kanye labafundisa emakolitshini kanye lemaUniversity basebenzisa njalo ingwalo ezibhalwe ngumlobi. Wathi ekubhaleni kwethu singakhohlwa njalo ezamasiko lomdabuko kanye lembali yaleyondawo oyikhethileyo. Walaya ababhali ukubana babhale izindaba ezihambelana lokuhlala kanye lomumo waleyondawo ukuze abafundayo bebone ukuphila kwendawo zabo. Wakhuthaza abalobi ukuba babale kakhulu ingwalo zabalobi abazingcitshi ukuze sifinyelele ekubhaleni kwethu. Kulabo abalobi abafisa ukubhala ingwalo zesikolo basebenzise kakhulu imidlalo,imifanekiso yabopopayi abatshela indaba ezihlekisayo ukuze bakhuthaze obalayo. Wakhuthaza abalobi  ukubhala indaba ezisegudwini, ezaleso sikhathi ukuze  singatshiyani lesikhathi. Yena lo umlobi uShimmer Chinodya useleminyaka engamatshumi amane ebhala ingwalo zakhe inengi lazo eseli setshenziswa ezikolo ekuhlungweni kolimi lwesingisi(Literature). Usebhale njalo ingwalo ezingamaytshumi amane ezisetshenziswa ezikolweni emazweni eSADC wonke jikelele. Wagcizelela kakhulu ukubana okuqakathekileyo njalo okumele  sikunanzelele njengabalobi yikubana kumele sibhale indaba esizaziyo. Sibhale ngempilo esiyaziyo singasebenzisi ukunakana kakhulu. Emva kwenkuthazo yakhe waqhubela isikhathi kuNkosikazi Chiedza Musengezi owasikhumbuza njalo ukubana  ukuze ubone okukatshana kumele ume emahlombe womuntu omude. Wathi yena kumele sifunde ingwalo  njalo sidinge ulwazi kulabo abakwaziyo asebelesikhathi bewenza njalo bewazi lomsebenzi. Watshengisa ukukhathazeka kakhulu ngempilo yabomama endaweni ezitshiyeneyo. Wathi njengabalobi kumele sikhiphe amazwi kanye lezifiso zabesifazana. Wabalisa  ngokukhohlakala kwabo mama emajele,abahlala emaHositela singalibali njalo ngenhlupho zalabo abasemabhizimisini. Wathi ababhali kumele njalo bebhale ngempilo yabomama labo bonke abesifazana jikelele. Wathi kumele siphakamisane ababazayo,ababumbayo sizame ukubaphakamisa  ngokubhala ngimisebenzi yabo.
Lolu daba luyethulwe ngu Tsitsi Nomsa Ngwenya laye ongumlobi wamabhuku lendatshana kanye lenkondlo ngolimi lwesindebele lesingisi. Elilunga njalo le Zimbabwe Writers Association.
(Tsitsi Nomsa Ngwenya was born in 1977 at St Joseph’s Mission Hospital in Matobo, where she did her primary education. She did her secondary education at Minda Mission also in Maphisa. She is currently a businesswoman based in Harare and a founder of a community project called   Ezweni Garden Produce which aims at empowering rural women in her community. She has written a poetry anthology  ‘Silent  Drumbeat From  Matojeni’, two novels ‘Beyond The  Barrel Of A  Gun’ and  ‘To Depth Unknown’ ,which are in the process of  publication. She is currently writing an anthology of short stories titled ‘The Fifty Rand Note And Other Stories’, and a Ndebele novel titled ‘Unyawo Lwejuba Lami’.)

Ngilithole phi?

By Jerry Zondo

Ngibhudule emadirowini, kalikho.
Ngizame phezulu kwewadirophu, kalikho.
Angilidobhi emgwaqweni
Angiliholi emsebenzini
Angikaboni lapho lidindwa khona.
Angikamuzwa olibumbayo.
Kakho ongiphayo loba sengicela ngelizwi lofayo.
Yonke into isithengiswa ngalo.
Ngithenge kanjani ngingelalo?
Umntwana ufuna izitshubo.
Imilomo yezingane zami idabukile ngendlala.
Izisu zabantwabami zibuze njalo nje ukuba
Imiphimbo seyaqunya yini kungasadluli ukudla.
Angilalo idola.
Bengizalithola nini ngaphi nanku bengiyivalelwe
Yonke indledlana izolo yokulithola.
Bengijeziswa kuthiwe akumelanga ngibe lalo.
Bengiyazi lemithetho engiyephulayo ngalo.
Ibe iminengi ingibopha uma ngike ngalinuka nje.
Namuhla kumele ngithenge ngalo.
Ngolithatha phi?
Angilalo idola.
Ungangibuzi ngeranti,
Ungangibuzi ngephawundi sitelingi,
Ungengibuzi ngeyeni,
Ungangibuzi ngepula,
Ungangibuzi nguyuro,
Ungangibuzi ngedutshimaki,
Ungangibuzi nge-esikudo,
Kumbe yisitulita, kumbe yidilitshibi, kumbe lilongeni,
Angilalo, angilayo, angilawo, angilakho, angilaso, angila…
Ngilithole phi!


Don't forget to enter the Intwasa Short Story Writing Competition (ending July 31), WIN Short Story Writing Competition (deadline extended, details soon)...Cheers.