Subscribe to Newsletter
Monthly Newsletter: Join more than 5,000 African literature enthusiasts!
Subscribe for African literature news, and receive a free copy of our "Guide to African Novels."

Yovanka Paquete. Image from Africa Research Institute.

Bissau-Guinean writer Yovanka Paquete has penned an essay about the lack of visibility for Lusophone writers, both in Africa and on the global scene, in contrast to their better-known Anglophone and Francophone counterparts. Titled “The Case for Lusophone African Literature,” it is published in OZY. Paquete writes about the promise of elevation that still hasn’t come for Portuguese-speaking writers, inviting agents and publishers to pay attention to the work ongoing in the space.

Last year, we announced the Angolan Jose Eduardo Agualusa’s win of the 2017 International Dublin Literary Award for his novel A General Theory of Oblivion, which made him the second African and the first Lusophone writer to achieve the feat. More crucial, however, is the publicity we pushed for Abdulai Silá’s The Ultimate Tragedy (first published in 1995, translated in 2017 and published by Dedalus Books), the first book from Guinea-Bissau to be translated into English, ahead of its launch at the 2017 Africa Writes Festival. We then published an essay by its translator Jethro Soutar on how he pulled it off. Paquete’s essay advances the conversation on Lusophone Arican literature.

Abdulai Sila and his The Ultimate Tragedy.

Here is an excerpt.

*

A few years ago, I was at an African literature festival that was being held, ironically, in London. Important debates and discussions were buzzing around me. African literature was not yet “mainstream,” but that year, “translations” and “languages” had again become buzzwords. There was a renewed interest in exploring Francophone (French-speaking) and Lusophone (Portuguese-speaking) works of literature and bringing them into the wider conversation. As an Afro-Lusophone myself from Guinea-Bissau, I waited eagerly. Years later, I’m still waiting.

Afro-Lusophone writers, in contrast to Anglophone and Francophone writers, remain conspicuously absent from the world literature scene. Anglophone writer Chimamanda Ngozi Adichie is now a global star, with her latest book, Americanah,on everyone’s lips and her speech “We should all be feminists” on Beyoncé’s Flawless. Publishers and editors from the West were scurrying in search of African writers, feverish not to miss the opportunity to bank on the Chimamanda effect. Similarly, Francophone writers are gaining currency with Fiston Mujila winning the Etisalat Prize and Alain Mabanckou long-listed for the Man Booker Prize. However, Lusophone writers remain absent from panels, festivals, discussions and debates. Whenever I confront people about the absence of Lusophone writers, they laugh nervously and say, “It’s the language.” But if books in other languages have been translated, why not books from Portuguese-speaking Africa?

The dominance of colonial languages in the African continent has created barriers between neighbors. So much time is spent perfecting the English language in Ghana that one does not learn Kwa languages or even French to communicate with French-speaking neighbors in the Ivory Coast. These barriers have extended to the literary market. Furthermore, African writers are still more interested in being published in Europe and the U.S. rather than across Africa. A Senegalese writer will not think of publishing in South Africa; Paris will be the first thing on his mind. A Kenyan does not seek literary agents in Angola; he will go to London before anywhere else. A Mozambican will prefer to go to Lisbon’s Book Fair instead of the Lagos Book Fair.

Operating in these language silos means that the African literature market is open to few, and, in particular, the Portuguese-speaking Africans — some 70 million in total — are left out. There are six African nations where Portuguese is the official language: Angola, Cape Verde, Guinea-Bissau, Mozambique, São Tomé and Príncipe and Equatorial Guinea.

Such discrete borders can and should be diminished, and I have seen the importance of this in my own life. I was born in Lisbon to Bissau-Guinean parents and spent most of my life in Francophone Africa. My eager parents spoke only “Victor Hugo’s” French to me and my siblings. In my grandfather’s house, we spoke Portuguese with all the “R’s” sometimes interrupted by my grandmother’s Crioulo. My mother’s brothers, two suave hipsters who wore Doc Martens before it was cool, mixed Spanish and Italian while teaching me and my sister the delights of lasagna and cannelloni. At the age of 6, I added to my growing world of languages: American English, courtesy of Cartoon Network. I have grown up mixing, playing and inventing languages.

 

Continue reading the essay HERE.

Tags: , , ,

About Otosirieze Obi-Young

View all posts by Otosirieze Obi-Young
Otosirieze Obi-Young is a writer, journalist, & Deputy Editor of Brittle Paper. The recipient of the inaugural The Future Awards Prize for Literature in 2019, he sits on the judging panels of The Miles Morland Writing Scholarships and of The Gerald Kraak Prize. He is Nonfiction Editor at 14, Nigeria’s first queer art collective, which has published volumes including We Are Flowers (2017) and The Inward Gaze (2018). He is Curator at The Art Naija Series, a sequence of e-anthologies of writing and visual art focusing on different aspects of Nigerianness, including Enter Naija: The Book of Places (2016), which explores cities, and Work Naija: The Book of Vocations (2017), which explores professions. His work in queer equality advocacy in literature has been profiled in Literary Hub. His fiction has appeared in The Threepenny Review and Transition. He has completed a collection of short stories, You Sing of a Longing, is working on a novel, and is represented by David Godwin Associates literary agency. He has an M.A. in African Studies and a combined honours B.A. in History & International Studies/English & Literary Studies, both from the University of Nigeria, Nsukka. He taught English in a private Nigerian university. Find him at otosirieze.com, where he accepts writing and editing offers, or on Instagram or Twitter: @otosirieze. When bored, he Googles Rihanna.

No comments yet.

Leave a Reply

Welcome to Brittle Paper, your go-to site for African writing and literary culture. We bring you all the latest news and juicy updates on publications, authors, events, prizes, and lifestyle. Follow us on Twitter and Instagram (@brittlepaper) and sign up for our "I love African Literature" newsletter.

Monthly Newsletter!

Subscribe for African literature news, and receive a free copy of our
"Guide to African Novels."

Archives

Suyi Davies Okungbowa’s Fantasy Trilogy, The Nameless Republic, Acquired by Orbit 

Suyi davies okungbowa by adaeze opara duncan

Orbit has acquired the rights to the Nigerian writer Suyi Davies Okungbowa’s new epic fantasy trilogy. Titled The Nameless Republic, […]

Ilya Kaminsky & Ellen Bass Have Serious Praise for Romeo Oriogun’s Hotly Anticipated Debut Collection, Sacrament of Bodies

romeo oriogun - sacrament of bodies - graph

We are two months away from the arrival of Romeo Oriogun‘s debut poetry collection Sacrament of Bodies, from the University […]

Nancy Adimora, Founder & Editor of Afreada, Rejoins HarperCollins in Diversity-Focused Role

nancy adimora - website - graph

Nancy Adimora, founder and editor of the literary magazine AFREADA, is returning to US publishing house HarperCollins in a newly […]

Come Home with Me | Obasa Funmilayo | Poetry

nick-karvounis-8WODX7nO2JE-unsplash

i This is a tribute to the dreams we failed to keep between our breasts, for the fantasies we painted […]

Watch Liberian Journalist Clarice Gargard Talk Her Family History, the Civil Wars, & Charles Taylor

clarice gargard - tedxamsterdamwomen-2019

The Liberian Dutch-American journalist and social advocate Clarice Gargard recently shared her story of Liberia’s civil wars in a TEDx […]

Submit to Issue III of 20.35 Africa Poetry Series, Guest-Edited by Itiola Jones & Cheswayo Mphanza

20.35 africa - itiola jones and cheswayo mpanza guest-editing

Launched in 2018, the 20.25 Africa: An Anthology of Contemporary Poetry collective is pushing institutional boundaries in the African literary scene […]

Thanks for signing up!

Never miss out on new posts. Subscribe to a digest, too:

No thanks, I only want the monthly newsletter.