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Lee-ah (Sister) – H.J. Golakai

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“Bury it deep.”

“Shh. I know how to bury things.”

The two girls, on their knees on the ground, stared at each other. The first girl pulled her lips against her teeth in an exaggerated grimace that made the second girl burst out laughing. It was a sign they were thinking the same thing, that the words of the buck-toothed elder who had guided them in basket-weaving two days before had not been forgotten. Curse the ancestors’ heads, the two of you are impossible! You hail from two villages with a long history of conflict, but you have forged this attachment rivalling the rock of ages. You have both been blessed with beauty and cleverness, but your minds are too consumed with mischief. Watch yourselves, or you will never learn to watch each other.

“This is not sprinting or a decoration festival, Omaru girl,” teased the first girl. Her eyes were tawny and her smile coy and quick, revealing small teeth but no other truths. “This is a task for real women.”

“Hehn! The very reason to mind your mouth, fire-dance princess,” the second girl, possessed of a temper more fluid and easy to read, struggled to keep her agitation under control. “Be careful not to hurt your fine fingers, Wasa women are delicate.”

But every minute they lost on banter was costing them.

Their search for sacred ground had unfolded in the style of all tasks they performed together – lazy, playful, and peppered with winding tales. Barefoot and naked save for the vibrant strings of beads in their hair and short lappa wrappers around their waists, the girls had pushed aside branches and stepped over fallen logs, mindful of snakes and scorpions as they swatted at bugs.

Eventually, dusk had threatened, a reminder of the consequences facing them if their task remained unfinished. The mood had sobered and the pace quickened. Finally, they saw it: a patch of ground lit by fading sunlight, nestled near the stub of a fallen mango tree, protected from the energetic course of a nearby stream. The girls held their breath, and as if in answer, the wind kicked a whisper through the forest’s leaves. Their eyes locked. Water, wood, wind, and fire. Earth to act as vessel. Their site had spoken. They fell on all fours and began to dig.

Two pairs of hands – one of honeyed, stripped wood, the other deep cocoa-brown – scrabbled through the dirt, wrist-deep in filth as they tossed handfuls of soil aside. Their scooping gathered momentum as they competed to see who could scoop faster. Two heads of ornate braids – one whose brown locks were woven to the top of her head, the other whose black plaits fell down a long neck and strong shoulders – bobbed up and down, faces fierce with concentration, foreheads close and dotted with sweat, breath laboured in the hush of the evening.

After several minutes, the second girl rocked backwards onto her toes, a glimmer of triumph in her dark eyes, signalling her companion to fling the last handful of dirt to one side in a huff. The hole was deep enough. Deft fingers went to the swathes of lappa around their waists and began to undo knots of fabric.

Nestled within the lappas lay two wooden dolls. Each was clothed identically to its owner and carved from two different trees, one golden and the other umber, much like the hands that held them up. The girls sighed, reverent smiles playing across their lips. The dolls were placed, into the earth side by side, then dirt layered over them and pressed down. A smooth, heavy stone acted as the final seal.

They hugged and laughed. From that night onward they would not only be women, but sisters. Tomorrow, branded high on each of their shoulders would be a ritual marking, a public symbol that they had braved the secret society of womanhood. As they matured, their scars would expand with them, soaking up dreams and desires. They would be forever bound, each a beloved guardian of the other. Sisters in society, sisters in blood.

_________________________

Lee-ah Sister. Art by Sunny Efemena

Miatta was tired. The village of Wasa seemed to taunt her, moving farther and farther away with every step she took. She regretted not having set out from home earlier even as the afternoon heat gave way to the evening’s cool, but that could not be helped now. What mattered was the grave situation that demanded she walk these endless miles, one she feared to name even to herself

Many days had passed since the messenger had come from Wasa with urgent news: her bond-sister, Nyenpu, was ill with the fever and had sent for her. She had sent him back with her message – hold on, my feet are flying to you – a promise she had been unable to keep. There were many considerations before embarking on a journey on foot, especially with rainy season at its peak and the rivers and forest in full flush. Treacherous waters often swept unfortunates to their death. The forest, untended for months, grew wild, its animals bold. Miatta was not worried about any of the physical dangers. She had grown up roaming the valley and learning its ways, for amusement as well as safety.

Her worry was the fever.

No one knew exactly where it had come from and which family fell first. The healers and herbalists of both Wasa and her own village Omaru remained baffled. They chanted and stirred and sprinkled their mystical cures, but the fever fought them with a bitter will. They had managed to stay its hand and restore many of the infected, grey and shaken, to the land of the living. But many others had not fared so well. The fever was a proud beast, and wanted the final word. Every so often, waves of wailing rose to the sky as another weakened soul succumbed…

Miatta shook her head. Nonsense. She would not let doubt and fear creep in. Wasa was close and she would arrive just after nightfall, if she kept her stride. The journey would have been easier and faster if not for the extra load, but that had been unavoidable.

As if sensing her disloyal thoughts, the baby on her back stirred and kicked her legs in happy protest. Laughing, Miatta stopped, put down the bag of provisions she was carrying, then stooped and tightened the lappa holstering her daughter. When the messenger from Wasa had brought the news of Nyenpu’s illness, Miatta had hurriedly packed to travel with him the next morning. That night, though, her baby had developed a fever and, frantic, she postponed her journey. The illness turned out to be a common bout, the child recovered in a few days, and Miatta set out as planned. There had been no other choice. Friendship was strong, but it paled next to motherhood. She would explain her tardiness and Nyenpu, blessed with a daughter of her own, would certainly be forgiving.

“Don’t worry, my love,” Miatta murmured and caressed the soles of her child’s feet to calm her. “We will soon reach, then we can rest.”

Her words sounded uncertain even to her own ears, though she knew her daughter was far too young to notice. The sun was sinking quickly and Miatta gathered up her load, and doubled her speed, averting her eyes as she walked on. She could see the divide coming up ahead, the clearing no traveller wanted to cross alone, the dreaded territory that was neither Omaru or Wasa. The area was always devoid of animal life – no birds nesting nor monkeys chattering. Many mothers had simply to lift a threatening finger in its direction to achieve immediate silence and obedience from their daughters. People disappear here. Ghosts walk among men here. THE WITCH WILL EAT YOU.

She kept her back to the clearing, feeling exposed, imagining wispy fingers reaching through the envelope of silence that hung over the place to grab her. All she had to do was keep moving and before long, there would be signs of life. Traders always traversed these parts. They knew well the unpredictability of long journeys and would often offer fellow travelers food and shelter for the night. But before then, there was just she, a lonely traveller with a baby, and the divide, darkening, yawning in her face…

She sneaked a look behind her and saw a thatched roof, the only sign of human occupation, emerging from the bush. A sap tree, the tallest for miles, towered over the equally imposing hut, and they both pushed their way out of the forest as if to swallow her. She broke into a light jog.

Miatta slowed and shook her head once she was past the clearing, scattering her wild thoughts to the wind. Like every young woman, she had seen the inside of that hut and knew it held little to fear. Not that she ever wished to revisit those countless tasks and dull lectures that she had had to endure as a young initiate of the secret society The hut and its memories were no cause for unease, but its occupant was.

The old zoe who lived there, whose duty it was to train young girls and usher them past the veil of childhood, watched her far too closely. Eyes even the other elders dare not meet weighed Miatta at every step – at initiation, at the river, at the fire-dance, on the day of her marriage. Always questioning, probing, demanding. Why, Miatta did not know. Never would she dare question or even approach the old woman. Such unspoken matters ––

Miatta strained her eyes into the dusk. Someone was coming. It could not be, but there was no mistaking that determined strut or the sway of those hips. She broke into a jog, oblivious to the strain of the baby bouncing on her back. The figure picked up speed as well, their slippers snap-snap-snapping against the ground as they ran to each other. Miatta and Nyenpu laughed as they embraced. Miatta forgot the journey, her hunger and gnawing worries. Her friend was safe and sound, well enough to come and meet her on the road.

Miatta recoiled from the embrace after a moment. “Ah-ah, Nyenpu, your skin is boiling!” And such a hungry heat it was, like stepping into the smoking hut where beans would dry after harvest. She laid a hand on Nyenpu’s face and studied her properly. All was not well. Gone was Nyenpu’s fair and radiant complexion, in its stead an unnatural grey pallor that stood out like clay against the deep brown of Miatta’s fingers. Sickness had eaten her meat. Her eyes bulged within juts of bone.

Guilt pierced Miatta’s heart. Weeks had gone by since she or Nyenpu had visited each other’s homesteads. More and more, the daily motions of life had taken priority over everything. If only they were still carefree girls with the leisure of time. If only she had left earlier…but she was here now. She would set her friend right in no time.

“My sister, you don’t look good at all. Why did you leave your bed to come outside this late?” Miatta asked, rocking back and forth to shush her daughter. The sudden sprint to hug Nyenpu had woken the child, and combined with hunger and the evening chill, the baby sounded highly unamused.

“You know how stubborn I am. I heard you were on your way to see me so I decided to come and meet you. I knew you were worried, and I wanted you to see I was doing better.”

Miatta reeled. How high and unnatural her friend’s voice sounded! Like a mosquito had climbed into her throat and taken over her speech.

Nyenpu must have seen her shock because she rushed to explain: “I sound strange, I know,” she coughed into a fist. “The fever changed many things about me. It will take some time before I find myself again.”

They drifted to sit on tree stumps by the roadside, and Miatta proceeded to breastfeed. She waited. There was a story to be told and Nyenpu, spinner of tales, would have her saga of triumph over the fever waiting on her lips.

None came.

Instead they traded family news and village gossip from weeks spent apart. The dark cloaked in and Miatta lit her kerosene lantern. With light and company at hand, she wanted to feel more at ease. But could not. Nyenpu was frail and understandably not herself, but even so she seemed…more unlike herself than ever. In fact, the darker it got, the stranger she became, and in a frightening trick of the light her pupils seemed to glow.

Miatta saw her husband’s face, loving and worried, rise in her mind as she anxiously scanned the night around her. Trade had briefly taken him away from Omaru and before leaving he had begged her not to go, to leave their child behind. Miatta now wondered if, in a haste to see her friend, she had been reckless.

It was also impossible to grasp this business with Nyenpu, who seemed to be worsening by the minute. She had already refused food and water several times, pleading fatigue. Her skin was like a slick hide shrinking into her bones and the pungent furnace of her breath was unbearable. Why leave your sick-bed so promptly after a grave illness to meet someone already on their way to see you? What careless fools had been caring for her, to allow her to slip out undetected in such a condition?

This was not her only worry. The child would not cease her howling for more than a few minutes at a time. Nyenpu had taken her and cradled her, crooning playful words and songs, but to little effect. Her friend soon sank into an uncommon silence, perhaps concerned her strange voice was upsetting the baby.

“We need to go,” Miatta said. Whatever magic or madness had coaxed Nyenpu out of her sick-bed would not hold for much longer.

“You are right. But this one is tired, o! All these tears!” Nyenpu said. “Let me hold her. You can’t carry everything the whole way.”

Miatta shook her head. “Nyenpu, you are barely fit to carry yourself. Don’t worry, I can manage.”

Nyenpu laughed in her high mosquito timbre. “Ah my sister, you’ve had her the whole day, she’s tired of you! Look now, she’s stopped crying.”

The baby, wild-eyed and silent, was already slung to Nyenpu’s chest, and Miatta found her tongue had thickened with a protest she couldn’t voice. She hoisted her provisions bag with unnecessary force, irritated by the uneasiness clawing at the walls of her stomach.

“When we reach Wasa, you can have porridge and milk,” Nyenpu cooed to the baby, blowing her kisses.

Miatta found her feet would not move, no matter how she commanded them. Her heart thumped a hard, unsteady rhythm.

“Maybe we shouldn’t go to Wasa. We should go back to Omaru.” Her words surprised her.

A cruel iciness flashed in Nyenpu’s eyes with such swiftness Miatta felt sure she had imagined it.

“Come stay with me until you recover fully,” Miatta pressed. “We’ll send word for your husband not to worry, and I’m sure your mother can look after your little one in your absence. It’s much better that way.”

Nyenpu smiled. It was a completely different smile from the one Miatta had always known. Her trademark mischievous twinkle remained, but there was a dead, unsettling quality in those fever-pink eyes that the smile did not touch. They locked eyes, and Miatta fought an inexplicable urge to grab her daughter, rip her free of Nyenpu’s bosom and hold her tight against her own chest. And run.

As if reading her mind, challenging her, Nyenpu pulled her lappa tighter. “Then we go to Omaru,” she agreed, smiling softly into the baby’s hair.

____________________________

They spoke little as they walked. Miatta held the lantern up to the night, on guard but lost in thought.

Nyenpu was absorbed in coddling the baby, singing childhood songs, caressing her head, releasing her from the sling to bounce her up and down. But the child had started crying again and remained inconsolable, only resting intermittently from screaming and kicking her legs.

Miatta threw a backward glance and realised how fast she must have been walking. Or perhaps Nyenpu’s pace was far slower. Frowning, Miatta slowed down. Shrunken and ghostly as Nyenpu was, somehow she did not look tired.

People disappear. Ghosts walk. THE WITCH–

Miatta stopped. Tingling with fear, she put down the lantern and carrier bag. Calling out that she was thirsty, she rooted through it, fingers scrambling over one item after another. At last, one hand closed over the water bottle and the other gripped a cool circle of glass. She tipped the water to her lips and angled the mirror in her shaky palm.

Disquiet crystallized into terror as she stared at the reflection. Behind her, the unrecognisable being that was now Nyenpu had stopped walking. It swung the baby aloft, gently at first, then more roughly, its claws gripping the child’s tiny, chubby arms as it lifted her higher and higher. Muscle and bone shifted unnaturally in its face as its jaws spread. A charred, disfigured lump of a tongue curled, twined and whipped into the child’s face. Its eyes burned a red so bright they lit the surrounding skin with a horrifying glow. The baby released another lusty scream and the creature transformed. Nyenpu’s face returned, comforting with kisses and murmurings of love.

Miatta choked down a sob. “I need to urinate!” she cried.

“My friend, you are all over the place today,” Nyenpu shrilled. “First Wasa, then Omaru. Now you drink, then immediately you want the toilet. You worry me now.”

Miatta kept her gaze to the ground, certain her eyes would betray her. They always did, and Nyenpu knew her too well. She had to brave the forest, run to safety. But how to get her daughter safely back in her arms without raising suspicion? Could she run ahead, alone, on the lie that she sought shelter for them in the nearest homestead? Was her only child safe with this soulless version of Nyenpu for even a few minutes? Her daughter gave her a tearful gaze, tiny fingers opening and closing as she strained for her mother.

Without a word, Miatta stepped up and took her out of Nyenpu’s arms.

Their eyes did battle – first a question, then sadness, and at last a squaring off – as realization settled over them both. Miatta’s neck twined up proudly. Nyenpu’s eyes glittered, defiant gems filled with the haughtiness she was known for. The underlying crackle of competition and tension they had always relished began to mutate in the hush of that moment. Were they youngsters again, monkeying up a mango tree to grab the highest fruit, or feverishly twisting reeds into baskets, each one certain her fingers were the most agile? Hips gyrating to the drumbeat as they eyed the same well-muscled suitor, both lightheaded with the hope she would steal his attention, make his blood hot for her love?

No. The challenge before them now was more final, deadlier, than any they had ever faced.

Miatta said, “I will come back soon.”

New-Nyenpu replied, “Then I will wait here for you.”

Miatta veered off the road into the dark, strapping her precious bundle to her back.

____________________________

Miatta ran so hard and fast her feet burned like live coals.

Running in the daytime required a different system from the one employed at night, especially when moonlight and heavy foliage came into play. Crashing past branches and leaping fallen logs, she recalled every skill learned as a youthful sprinter.  She kept her mouth closed and head down, doing her best to pick out the layout of the forest floor before planting her feet. Her slippers were soon abandoned.

Girls with quicksilver were often warned about the dangers of mixing speed and femininity. Society demanded of a young lady that she walk not run, treading with grace and dignity. But Miatta had always ignored the scolding of elders as she raced packs of boys, breasts cupped for support, laughing triumphantly as she won, braving her mother’s switch against her legs with a secret smile.

Now, she called upon her latent lightning, for what was at stake went far beyond punishment and public scorn. An unlucky frog squished beneath her graceless heel and Miatta skidded. Cursing, she felt stones and pebbles give way to softer ground and mud under her feet; she grabbed a branch to brake just before she emerged onto the river bank.

She scrabbled downslope towards the sandy edge of the water, stared at the river’s churning waters and wailed softly in despair. The forest was a snarl of shadows, but a river crossing at night was another brand of madness. She could hear Nyenpu barrelling through the bush, knocking obstacles aside like toys, her shrieks rising to the moon. Bent double, Miatta was heaving from exhaustion. It was useless trying to hide. The baby’s terrified screams betrayed their position too easily. Through the sweat stinging her eyes, she saw Nyenpu break the forest barrier onto the rocky shore, then slow to a slither, each step a taunt.

The creature stopped at the top of the verge and looked down on Miatta, and for a second Miatta saw a flash of her friend, the look on her face impossible to decipher – love, disgust, pain, triumph, mourning – and then both the look and her friend were gone. The gaunt creature moved a final step to the very lip of the edge and Miatta shuffled closer to the water’s edge. Quiet sobs wracked her as the creature ripped a young banana tree from the ground and flung it like a twig. Miatta screamed and leaped out of the way.

Nyenpu cackled. “Haaaay! My sister, stop this nonsense. Why are you running from me? It’s only me. There’s no reason to be afraid.”

Miatta scuttled to the lip of the water’s edge. The ebb was lowest where she stood, but still too tumultuous.

“‘Lightning Legs Miatta.’ You were always so fast. No one could catch you.” Bloody coals bored into her with a look of pity. “I let you believe it too, that you were so much quicker than me. I let you believe many things.”

Miatta hesitated, throwing desperate glances between forest and river.

There was no turning back.

Smirking from atop the sloping verge, Nyenpu picked up a boulder and flung it with impossible force, laughing as it thudded down the gravelly bank. Miatta leapt, stumbling as the squirming baby nearly tipped them over.

The boulder rolled to a stop. With the agility of a jungle cat, Nyenpu dove through the air and landed on it in a squat, gnarled hands dangling playfully in front of her. There were only a few steps between them. Tilting her head, Nyenpu looked past Miatta at the river.

“Can you make it, Lightning?” she hissed.

Miatta sucked in her breath and dove into the churn.

The tide swept in at chest height. She clasped both hands and kept them behind her back to raise her daughter’s bottom as high as possible whilst keeping her head above water. Her soles were rubbed bloody and sore by the stony riverbed. In no time, keeping her balance became excruciating.

At last, she spluttered onto the other bank and took off again. Nyenpu was close, jeering that Miatta was no fine swimmer and did not know the forest as well as she did. But Miatta knew Nyenpu had always been afraid of rivers, disliked their perpetual wetness and unpredictability. Even in death, the creature who wore her spirit would not leap in, would look for a gentler crossing with stepping stones. This bought her time, but not much. Fatigue began to wear Miatta down. The baby’s cries roused a chatter of angry monkeys as they ran. Soaked and exhausted, Miatta begged every ancestor she knew for protection as she scanned the trees for sanctuary.

Her eyes fell on a huge fallen log, its centre rotted away. She slung the baby down and climbed inside the hollow, pressing her close inside the tight space. Choking on the mustiness of their cocoon, she tried to settle her heavy breathing and her daughter’s distress. The baby’s wails dropped to whimpers, yet still her cries carried. Trembling, Miatta squeezed her closer. “Please, my love,” she whispered. “Please be quiet, for me.”

Her daughter promptly fell silent, fumbling in the hollow for her mother’s finger to suck. Footsteps in the undergrowth. Nyenpu called her name, in melodious tones, then plaintively, seductively, and finally shrieked in rage.

“Come with me!”

Miatta shut her senses against the desperation of the plea. Freshly parted from the body, a gina spirit could seduce out what it most desired, using praise, promises or threats, to drag a living soul with it into the afterlife. Darkness lit the flame for it to burn hot and angry, but daylight would melt away its power.

Miatta held her baby and her breath, and prayed and prayed for the sun.

____________________________

“I do not understand.”

Seated on the mud floor, her infant asleep in her lap, Miatta frowned at the old woman.

At first light, she dragged her battered body to the hut beneath the sap tree, falling through its door when it opened before her hand touched it. Now, after hours of rest, revelations flowed.

“She came for you. You know the gina, when it comes for you, you can only fight. Or,” the zoe spread out her hands, “allow it to take you into its beyond.”

Miatta shook her head. “No. Why? We were everything to each other, we made worlds together, from the time we were babies.”

“Your worlds began to separate longer ago than you know. The man that you call husband…” the zoe prompted, and waited.

Miatta stared into the fire.

“Before me, he was hers,” she answered at last, “when we were young girls. She captured his attention first. But Nyenpu…” a sigh trembled from her lips, “…so headstrong… so many games. She could not settle her heart on one young man for long.”

“Neither of you could.” Miatta opened her mouth to protest and the old woman raised her hand for silence. “As long as virtue was maintained,” she allowed. “Beautiful women never easily resolve to love only one man until it pleases them to do so, nor should they have to.”

She stared into the fire, lost in a gone time. Miatta studied her and then guiltily looked away, unable to imagine the worn, wrinkled face had ever held charm.

“He grew tired of her,” Miatta continued. “To save Nyenpu’s pride and avoid her temper, he allowed everyone to think otherwise. But she swore, swore to me, that it did not matter when love grew between us. Yet she wanted me dead.”

“She wanted you with her,” the zoe corrected. “The man was nothing. Your friendship grew so strong, it corrupted her. Nyenpu’s will was of iron, even in death – she could not pass on and leave you behind. In her eyes, you belonged to one another, in life and beyond.”

“I followed her, on the final night of your initiation,” the zoe went on. “She crept back into the forest and removed your idols from the ground.”

Miatta covered her mouth. The sacred idols, once buried, were never to be disturbed.

“She did not trust the ancestors to be the guardians of your bond. By doing this, she chose her fate. Nothing could have prevented the events of last night.”

“When did she die?” Miatta whispered.

“At dusk. Not long after she appeared to you.”

____________________________

Women ran onto the road as she neared Omaru village. Their slippers roused the dust, their lappas fluttered like colourful wings. Their faces were bright with tears.

“Come o-o-o, come!” they cried. “Come and hear it! Your sister Nyenpu has left us.”

Miatta sank to her knees and pressed her forehead to the ground, her first tears falling as her baby stirred on her back.

“I know,” she sobbed. “I know.”

Hawa Golakai
Born in Frankfurt, Germany, Hawa Jande Golakai spent a vibrant childhood in Liberia. After the civil war in 1990 she bounced around the continent and considers herself a contemporary nomad and cultural sponge. Her 2011 debut The Lazarus Effect was thrice nominated and she is a laureate of the Africa39 Project, celebrating some of the most promising new authors on the continent.
In addition to her second novel The Score, she has featured for the BBC, Brittle Paper, The Guardian UK, Commonwealth Anthology, Ankara Press and others. She is the winner of the 2017 Brittle Paper award for her creative non-fiction essay Fugee and has served as a judge for literary prizes such as 9mobile (Etisalat) and Short Story Day Africa. She is also a medical immunologist and with her son, lives between Monrovia and anywhere else she finds herself.

Review of Trinity: Red October Issue 1 – Joseph Omotayo

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Writing Back at the Colonial Empire

It could be argued that art in Africa is at the point of not only writing back at its colonial centre, but of deconstructing Western ideas of what they should be. One thing postcolonial literature has been doing is wrestling the agency of representation away from western canons and re-ascribing it to those who should speak about themselves. It is in this vein that one could say African comics are postcolonial literatures.

The desire to create superhero characters that Africans can relate to has always been the driving force behind comics in Africa. Ayodele Elegba, the founder of Lagos Comic Con, reinforced this when he said he wanted “every… fan and creative to boast of a comic convention they can call their own.”

Following that path, a whole new set of African superheroes are coming up. We have Wale Williams in E.X.O., T’Challa in Black Panther, and now Alex Laguda in Trinity: Red October.

History as Malleable Material

The first issue of Trinity: Red October is themed “Our Father.” It is the first in a series of eight episodes. It mines Nigerian political history, condensing about three centuries of events, from the country’s precolonial era, to its colonial and early postcolonial periods, and its present political turmoil, for its resources.

The comic keeps a safe distance in its representations of true events, creatively changing real names and known personalities. However, this subtle distortion reveals enough for the reader to follow. For instance, historical figures like Jubo Jubogha (the Jaja of Opobo), and former governor Donald Duke are represented as Jumbo Jumbosa and Dariye Duke, respectively.The Boko Haram terrorist organization is renamed as the Sons of the Sandstorm (Easifat Ramalia).

However, to fully appreciate this issue, a reader’s knowledge of Nigerian history will be useful. The timelines in this comic correspond to dates of events that actually happened in Nigeria. One example is on page six where the phrase “boiling cannons,” in one of the preludes to the series’ events, alludes to the Occupation of Lagos in 1851. The infamous British invasion of the city is known to the local Yorubas as Ogun Agidingbi.

“In 1851, the HMS Bloodhood pounded Lagos and Kosoko’s ambitions into submission in the war of boiling cannons.” (pg. 6)

History can be an endless spectrum of alternate narratives, as the truth at any point in time depends on whose agency is given precedence. Trinity’s “Our Father” knows this, and spins history to present interesting alternatives. For instance, the events surrounding the Jaja of Opobo’s death is played from an absorbing angle. No one really knows for sure how the Jaja died. What if he didn’t? What if he came to Lagos after his exile to create a revolutionary movement that would later topple the British colonialist emipre?

“Jumbo Jumbosa, after faking his own death, decided not to return to Opobo. He arrived in Lagos and struck a friendship with an impressive young man named Herbert Macaulay. Together they formed the secret society of the Virtuosi… They swore to kick the British out of their country.” (pg. 7)

The prologue to this issue is a thorough portrayal of the rich history of Nigeria, and how the country came to find itself in its present predicament. First was the invasion of the city of Lagos. Then the disruption of traditions and traditional personalities such as Kosoko, the Oba of Lagos, and the Jaja of Opobo, and the founding of the Nigerian seat of power, Aso Rock.

The most interesting thing Trinity does with history is how it asserts the civilizations of precolonial Africa through the mention of the Dahomey Empire in modern-day Benin Republic. A well-organised empire, Dahomey was a strong argument against the Western narrative of Africa as lacking in political organization prior to colonisation.

Comics’ Elevated Imagery

With the use of graphic arts, characters and events can be fleshed out for better comprehension. For instance, when the character Kadara complains about Sir James’ grumpiness, the scowl on her face says it all.

This issue of Trinity also uses creative cartoons to help the reader connect the dots in places where flashbacks or backstories are most needed. One can only hope that subsequent episodes continue to provide these. So questions like the pre-prison life of the vigilante Alex Laguda, or the consequences of the theft in the prologue and the kidnap of Da Costa, which would be reasons you would want to read subsequent episodes, are covered by captivating images that elevate the reader’s imagination.

What Trinity does differently from other comics like it is that it uses language to a mesmerizing effect. You will find engaging descriptions like this throughout the book:

“…Snake Island has dictated the destiny of this nation for over a century, wielding unprecedented power behind its walls of concrete, steel and secrets.” (pg. 5)

Trafficking in Paradoxes

The art that appeals to us are often the ones with counter-intuitive outcomes. Trinity’s “Our Father” is filled with interesting paradoxes that keep the reader pining for more. This is a quality of a good page-turner. Issue 1 of Trinity: Red October is as political as it is entertaining. I want to see what happens next. You should too.

joseph omotayo
Joseph Omotayo is an avid reader and reviewer. His critical essays have been published on several blogs and in prints. @omotayome is his twitter handle.

Issue 12 Editorial: Our Darkest Selves

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We live in a world where women are often expected to be our consciences – absolving men of responsibility for their own behaviours and choices. However, rarely are women allowed to choose for themselves what it means to be good or moral. We hold women to higher standards yet we do not reward women for meeting them, nor does society ever hold such baselines for itself. Rather, goodness is defined as whatever behaviour will benefit men and thus is always malleable.

So what happens when women define goodness for themselves? Well, in this edition we bring you tales of women and girls making choices and behaving badly – but not always in ways that you might expect. In Mirette Bhagat’s “A Bridal Shroud” a young girl takes control of her destiny; while in “Memento Mori” by Tiah Bautement, a woman decides the path of her happiness – with the most unexpected of partners; in H.J. Golakai’s “Lee-ah (Sister)” two friends determine the boundaries of their friendship on their own terms; while in Osahon Ize-Iyamu’s nerve-tingling “In the Garden Watching Nim Noms” a girl must decide how far she’ll go to become the thing she most desires.

It’s been a long, exhausting road to this edition. Between illness, unemployment, and new employment, we’ve had to make our own decisions about how to balance our unwavering passion for this project and our need to buy groceries, sleep, and pay rent. It hasn’t been easy. We’ve had to watch as our publication schedule, carefully crafted at the beginning of the year, was blown out of the water by the grenades of the daily demands of life. And you, dear readers, have had to bear the brunt of that.

We are deeply sorry.

We can only continue trying our best and limping along as we can. Sadly, this means we can only commit to one more regular edition this year. However, we leave open the possiblity of collaborations to come – particularly in celebration of our 4-year anniversary.

We want to thank Joseph Omotayo whose last-minute review brought this edition together, as well as Wole Talabi for his generous donation to this edition, and a continued thank you to the Science Fiction and Fantasy Writers of America (SFWA) for making this year possible.

But our biggest thank you goes out to you, our readers, for sticking by us through our ups and downs. Your loyalty is beyond our capacity to repay. We humbly ask that you continue to bear with us.

Thank you.

Chinelo Onwualu

Editor, Co-founder

Omenana Magazine

Artist Spotlight On: Caitlin Mkhasibe

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  1. Tell us a little bit about your background.

I was born and raised in Johannesburg and decided to study at the Michaelis School of Fine Art in 2011. I graduated in 2015 and have been a full-time artist based in Cape Town since then.

  1. What inspired you to be an artist when you were growing up and why?

I daydreamed a lot and spent my time playing outside. Before 2000, my late grandfather sent us VHS tapes recordings of old Cartoon Network shows from Newcastle in the UK, before my household decided to get DSTV. Animation felt like the closest thing to the replication of imagination.

At that age, I also remember having completed a drawing while sitting at a table in my garden thinking I’d like to do this for the rest of my life. Spending time outside also gave me a love for nature and a deep need to be surrounded by it. Moving to Cape Town has given me access to nature and it is what inspires me to create as I think that it is truth.

  1. What is the most challenging aspect of being an artist, particularly as a woman, in your country?

Subconsciously, I find ways to avoid being catcalled while walking. So if I can get lifts or take the bus that comes down my street, I’ll utilize that as a kind of breathing space so I can avoid the whirlwind of verbal harassment and have a peaceful headspace while getting art supplies/groceries/drawing money/scanning my art. I’m just too sensitive to it.

I have, however, seen male-on-male violence where my friends are laughed at or questioned by strangers because of their alternative appearance. I blame all of this on the competitive, shallow and insecure plague: patriarchy. It becomes exhausting knowing that each time I leave my house something confrontational is bound to happen – no matter how much we try to keep our heads down and move forward.

Outside of that, I think there aren’t many platforms for underground artists. I do wish that illustration, grungy and raw types of creations could be punted and supported just as heavily as Fine Art culture is. The other issue is the view on the costing of art and materials artists use: It doesn’t always have to be unattainable by the average person and I think there needs to be a shift in perspective.  Luckily, I’ve found a few supportive channels, one of which is the online gallery, Unsung Art, and I appreciate their hard work greatly.

  1. Are you involved in any other projects outside your regular job? If so, can you tell us which ones you’re currently most excited about?

I play drums and other things for Morning Pages. It is an instrumental audio-visual ensemble based in Cape Town. We narrate soundscapes to projected visuals created internally. We have a strong DIY ethic and, in September of 2016, we independently released our debut album Vernal Equinox and toured the east coast of South Africa. We recorded the album internally, created album art, merchandised and funded the tour.

Our next series of performances will take place at The Theatre Arts Admin Collective at the end of March. One of which will be a replica of our November 2017 set, ‘Dirge’, that we held at Alexander Theatre. It is our first official film where we’ve scored specific sound to a story that we’ve made, and it serves as a form of lamentation over the joint loss we experienced in 2017. I’m really excited about it.

  1. What strategies do you use to carve out time for sketching?

I work full-time as an artist from home so there’s time for me to illustrate. I often multi-task by processing thoughts for pieces while doing tedious things like errands or housework. It’s become a habit and I think that is why, unfortunately, I am not as present as I’d like to be. Even my internet browser has multiple tabs open at once. My concern is carving out time to clear my mind more.

  1. Are there any TV shows, movies or web series you would sneak out to watch right now?

I’m anticipating the release of the new South Park and I can say that I hope to find similar series to the first season of Channel Zero and something like The OA this year.

  1. Who are the most exciting artists on the South African scene right now?

The artists that inspire me are Helo Samo, Frank Lunar, Lightfarm (Jason Stapleton), Oscar Oryan, and Louise Coutzer of Darkroom Contemporary.

  1. What was the most discouraging time in your career and how did you overcome it?

Last year, in 2017, I experienced many losses and the stress from that made me sick, so much so I had to go to hospital. It was scary because it felt like my body was caving in and – it’s obvious to say this – but I didn’t realize the degree of my body’s strength when it was healthy. While I was in hospital, I got to do some research and think through how I could be kinder to myself because choosing this path is difficult and my negative state of mind is one aspect that makes it harder.

  1. Looking back, is there anything in your career that you would do differently? Any major decisions you regret?

Everything is synchronistic and every move forward or backward is part of a complex sort of puzzle that builds on itself, which makes my path.

  1. What is it you would most want to be remembered for when you’re gone?

I don’t feel art is an external thing you take on; I think it’s an extension of yourself or a tool that gets more of you into this realm. I want people to feel encouraged to embrace themselves. There are alternative pathways in sharing and making art and we don’t have to wait for someone ‘important’ to coin us an artist.

Also, caring for the environment, and making pieces on how we relate to it, is just as important as works that focus on social ills. Without Earth there is no plane for us to figure ourselves out, and I’d like for people to carry that in their conscience.

In 2015 Caitlin completed a BAFA at the Michaelis School of Fine Art, Cape Town. She creates illustrations, videos of these illustrations and often represents sound through those mediums. She also paints on clothes people already own, 2nd hand clothes or cotton clothes made in South Africa. She believes in nature as truth, true technology & that animals know more than we ever could. She doesn’t depict humans in her work as she wants to eradicate the imbalance/hierarchy made by humans over nature. She uses vegan materials: art materials not tested on animals, not having animal ingredients, veg inks/recycling paper. Among many independent group exhibitions, in Cape Town, she has exhibited at Open Book Comics Festival, Gallery University Stellenbosch, Unsung Art, DF Contemporary, 99 Loop, Commune. 1, Rabindranath Tagore Centre (India) & Reed College (Portland, USA) through Emergent Art Space. She is also a drummer for Morning Pages sonic & visual ensemble which has released an album, independently toured the east coast of South Africa & hosts performances at various venues around Cape Town (since 2014).

Editorial for Issue 11

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Another year, another cycle of bringing you the best African speculative fiction we can find begins.

We are now 11 editions in, and each opportunity to produce a new edition of Omenana still feels like a new experience.

But the road to Omenana 11 was not easy. There was a time, after Omenana 10, when the thought of how we would continue the magazine filled us with trepidation, but here we are. We can never be grateful enough to Zimbabwean writer Tendai Huchu, whose timely support by gifting us his Nommo Award win smoothed out many of this edition’s rough patches.

Tendai’s support proved to be a great catalyst as it was followed by a grant from the Science Fiction & Fantasy Writers of America to run Omenana for one year. What can we say except thank you.

For this edition, as is our style, we are offering diverse themes from writers from across the continent. From mud dolls willed to life by magic, to science fiction that will give you a glimpse of the afterlife in the not too far future, and a young girl in Kenya forced to shoulder the burdens of her people – scapegoat-style. These diverse stories speak of a talent to spin tales that awe, shock, and inspire. These tales, which the African child first caught whiff of sitting by the feet of their mothers, and then repeated blemished versions of to their siblings and peers, these are the ones we set up Omenana to showcase.

Beyond the usual issues of time and manpower, we are ready to continue to offer you the best speculative fiction from writers from Africa and the African Diaspora that we can find. We will produce all the editions planned for 2018, and then we will look to 2019 – and to doing it all over again.

The ride has taken off, feel free to join us.

Mazi Nwonwu

Brand New Ways (to lose you over and over and over again) – Blaize M. Kaye

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By Blaize M. Kaye

Seven minutes past Garbage Collection. I’m almost late to meet Abbie.

I burst into the library through the swing doors of the main entrance. They slam shut behind me and faces with perfect hair, skin, and teeth look up from their books and streams.

The regulars recognize me and turn their attention back to their words, but a few newbs and drifters watch me run through the reference section, with its rows of long desks and short desk-lamps, until I disappear into the shade of the taller shelves.

Poetry and fiction live here, and here Abbie will be waiting.

At the shelves labelled ‘CAS-CHI’ I slow to a walk, take a single deep breath, and turn into the row.

She’s dressed, as usual, in her red work coveralls. Her dark skin, like all second-classers, is smooth, flawless. Her silver hair is gathered and pinned in a loose bun.

“Where did you get to?” she asks, and closes the book she’s holding.

I never know quite how to answer this question, and so the best I can offer is a weak shrug.

She gives me a look that is part smile, part frown and slides the book back into its slot on the shelf. She runs her long index finger across the shelf’s smooth surface, as if she’s expecting to find dust.

But there can be no dust. They don’t simulate it down here.

Dust is for first class packages.

#

Abbie and I were old once, back when we were real.

I was older than her, by nearly a decade, and I’d always assumed that I would be the first of us to get really sick.

That is not how things played out.

It started with a headache. Abbie had had headaches for as long as I’d known her, so neither of us thought much of it at first. She took her usual cocktail of pills, lay on our bed with the curtains drawn, and waited for the pain to subside.

It didn’t.

Almost a year later, after the diagnosis, radiation, and initial surgeries, I found myself sitting on an old faux leather couch in one of Abbie’s specialists’ waiting rooms. My copy of Bessie Head’s When the Rain Clouds Gather was either somewhere in our apartment or on the back seat of the cab that had dropped us at the doctor’s office.

Cursing myself, I rifled through the stack of old magazines on the waiting room’s coffee table looking for anything to help me pass the time. On offer were tabloids with long forgotten celebrity scandals, and an improbable number of ragged DIY mags gone soft as cloth from repeated readings.

Next to the magazines was a clear perspex stand filled with corporate-sponsored information pamphlets. High gloss A4 pages folded twice and stacked back to back, dealing with everything from early adolescent opioid addiction through to survivor’s guilt.

The one I picked up, though, was a pamphlet with a picture of an older couple, late sixties maybe, sitting under a tree and watching the sun rise.

Make forever a reality, it read.

Cloying, but effective.

#

Eight minutes past Garbage Collection. She’s going to talk about books, and she does.

“Found anything worthwhile?” She asks, assuming I’ve been browsing the library, rather than running through it.

“Not really,” I say. I want to say so much more.

“I was hoping Chabon’s Moonglow would be up by now,” she says.

In second-class they only simulate books whose copyright has expired. Chabon is here though, and has been for decades. Abbie would find it if she looked down at the shelf again.

I’ve shown her once before, but things went badly when she opened the book to the edition notice and saw the dates. Panic and tears. So I leave Chabon on his shelf.

#

I called the number on the brochure. The voice on the other end gave me an address, a date, and a time for our free consultation. On the day, we caught the underground train into Durban central. Abbie took her pain meds and slept, leaning up against the window. I tried to read.

From the station, we caught a bus to a tall building of mirrored glass where we were directed to a small office on one of the lower floors. Here we sat across the table from a young man with a kind face, and a too white, too perfect smile.

“…Electronic Consciousness Preservation, that is ECP, has until now been the sole preserve of the very wealthy, but we’ve developed a product for the broader market,” he said, while a bright presentation played on a screen that took up half the wall behind him. Graphs and tables with kinetic typography and explainers for everything from the uploading process to our return on investment.

“Of course, in order to democratize ECP, we’ve had to make certain concessions,” he said. “It’s like the difference between flying Business and Economy. Sure, those up front have a little more legroom, but we’re all still getting to the same place.”

What was on offer was the “silver package.” An upload option designed specifically for pensioners. Here, in the machine, we call it second class.

The young man, still smiling, slid two piles of contracts, each as thick as a good paperback, across the desk.

“Just sign wherever I’ve put one of those little neon stickies. Accounts will take care of the rest.”

Abbie was always the more detail-oriented of the two of us. A patent lawyer until her 65th birthday, if she had been well she would’ve read every last page. That morning she could barely hold her pen. For my part, I would’ve signed anything at all if it would stop her hurting.

And so we signed.

#

Nine and a half minutes past Garbage Collection. Abbie smooths down the sleeves of her red coveralls. Next, she’ll roll them up. She does.

“They’ve turned up the heat,” she says.

Abbie’s coveralls are one of the “concessions” of the silver package introduced by our ECP provider.

When you’re uploaded and officially declared dead in the real world, all of your possessions–any property, investments, the remainder of your pension funds–are transferred to the upload provider. They reinvest these funds to pay for your server time. But that only covers a fraction of the cost. The rest is paid for by “reclaiming cognitive surplus.”

In other words, inside the machine, you have to get a job.

Abbie now works in Media. Her legal background got her assigned there. For 18 hours a day she would watch video and photo streams from the real world for violations of terms. Copyrighted material on video sharing sites. The merest hint of a female areola on a social network. The appearance of an underage performer on the flesh streams. Children being hurt in hotel rooms. People being hacked to death in basements and abandoned warehouses.

She hated her job.

I tried to remind her that it was better than the alternative. Better than being in the cold ground, or scattered into the ocean. She wasn’t so sure. Now, neither am I.

#

Eleven minutes past Garbage Collection. There’s not much time left and so I step up to Abbie and wrap my arm around her waist.

I lean in and take a deep breath, relishing the scent of her avatar. I’ll give the simulation engineers that, they’ve nailed the sense of smell. Must not be too computationally expensive.

“Weirdo,” she says grinning, and then pushes me away playfully.

“Hah, you’re the weirdo,” I say.

“Forget the library,” she says, “let’s go for a walk before your shift starts.”

“Okay.”

Thirteen minutes past Garbage Collection. We walk hand-in-hand out of the library and into the warmth of the simulated afternoon. A short flight of steps with a silver banister leads from the library’s entrance to the sidewalk. It’s going to happen any moment now.

I give Abbie’s hand one last, tight squeeze and then let go.

I take the stairs three at a time until I’m about halfway down and turn to look back at her.

“I’ll see you soon, Chickadee,” I say.

She gives me a puzzled smile that breaks my heart and then reaches out to put her hand on the banister.

She takes a step towards me, stops, and turns her head as if she’s heard something behind her.

Thirteen minutes, 30 seconds past Garbage Collection. This is as long as she has ever lasted.

The space around her avatar blurs, the light seeming to bend towards her. Abbie shines bright for a moment and disappears silently. In the same instant, she reappears at the top of the staircase. A glitch-skip of about two seconds.

#

Abbie and I had wanted children. I couldn’t have any. Not much more to say about that except that when it’s just the two of you, the whole process from signing the papers to uploading is very quick. Two days after our meeting in the city, men were sent to our flat to catalogue and pack everything we owned. As part of the silver package we were put up in a hotel the night before the procedure. Abbie was feeling better than she had in months, maybe knowing that it would be over soon.

We took a short walk. We ate pasta. We made love.

Yes, we still did that.

The next morning a car picked us up and took us to the squat, beige building that was the clinic just outside the city.

They gave us paper gowns and lay us on gurneys next to one another in the room outside the theatre. Her upload was scheduled first. A young nurse in brown scrubs came to take her into surgery.

“I’ll see you soon, Chickadee,” Abbie said as they rolled her away.

That was the last time I heard her voice. Her real voice, I mean.

#

Thirteen minutes, 34 seconds past Garbage Collection.

Abbie reaches out for the banister, exactly as she did a moment before. She takes her step towards me, stops again, and turns her head.

I search her face for any trace of panic or pain. That I find none there is a cold consolation.

Again the light bends around her, she shines bright, disappears and reappears at the top of the stairs, where she reaches for the banister.

What they tell you when you’re signing your life away, when you’re joining them in “disrupting the afterlife,” is that you’ll never have to worry about dying of natural causes.

Natural.

What they don’t tell you is that uploads on the silver package all run on commodity hardware. You’re not paying for redundancy.

#

The first time Abbie Glitched Out, I wasn’t with her. That’s what we call it in second class, glitching out. An error in the underlying software or hardware running our processes.

I was late to meet her at the library after work. Just a few minutes, but still, I wasn’t with her.

I found her in the library’s lobby surrounded by a small crowd that had gathered to watch her avatar shine bright and glitch-skip through the last few seconds of her consciousness.

She sat alone on a bench, leaning forward with her elbows resting on her knees, her head in her hands. Her silver hair spilled and shifted like liquid metal through and over her fingers as her right leg bounced up and down with a nervous energy.

If not for the flashes of light and the uncanny shift in the position of her leg mid-bounce, I could almost imagine that she was okay, still waiting for me impatiently.

I could almost imagine that she simply hadn’t seen me standing right in front of her.

After a while the crowd lost interest and drifted away and

I stood alone for hours watching her glitch-skipping. Watching those last few seconds of her process being repeated over and over.

Eventually one of the library staff, a middle-aged man with bright blue hair and a gray suit, put his hand on my shoulder.

“Do you know her?” He asked.

“She’s my wife.”

“I’m sorry.” He said. “You should log a ticket with Support. Sometimes they can do something.”

The Support Centre was sympathetic but firm in reminding me that when we took the discounted silver package, we agreed that our consciousness wouldn’t be distributed across multiple machines. They explained that one of the clauses in the “silver addendum” stipulates that in second-class you’re not ever fully backed up. And so, when there’s even a minor failure, even a single corrupt bit in a matrix a million bytes wide, there’s no guarantee that you’ll be coming back.

While they were under no legal obligation, they stressed, they were willing to attempt a process rebuild with what data they had. As Abbie was a valued customer they could attempt to take her apart and reset her to her last known configuration, approximately fourteen minutes before she began to glitch.

I told them to do whatever they could.

They told me our conversation was being recorded for quality and legal purposes.

The reset was scheduled for the next invocation of the Garbage Collector, the process where any unused memory is released back into the system. They calculated the precise location she would respawn, rows CAS-CHI in the poetry and fiction section of the library, which is where I found her, searching for Michael Chabon’s Moonglow. It’s difficult to explain the relief I felt at that first resetting. The feeling of having Abbie back. Thirteen and a half minutes later, however, she bent down to tie the lace on her high, black work boots. She shone bright and bent down to tie her lace again. And again. And again.

I placed a second call to Support, they said they would reset her process. They did, and thirteen and a half minutes after that Garbage Collection, I lost her again.

I can’t remember how many times Abbie has glitched out now. How many times they’ve reset her process. How many times I’ve met her in the library knowing that thirteen and a half minutes later I’m going to have to let her go.

What they tell you when they’re pushing their second rate Electronic Consciousness Preservation plan is that you won’t have to lose your wife to the thing that is slowly but inextricably burrowing into her brain.

What they don’t tell you is that, instead, they’ll give you brand new ways to lose her over and over and over again.

#

Thirteen minutes, fifty five seconds past Garbage Collection.

Abbie’s back at the top of the stairs.

She reaches for the banister.

She takes a step and turns her head.

She shines bright.

Reset.

Repeat.

***

Blaize is a writer and programmer from Kwazulu-natal, now living on the Kapiti Coast in New Zealand. His work has appeared in Nature, Fantastic Stories, and the Kalahari Review, among other venues.

The River Doll – Tariro Ndoro

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By Tariro Ndoro

They say the tears of innocent ones are like prayers that go straight to heaven and do not come back down without answers. Well, heaven probably heard eight-year-old Fara’s prayers on the day her twin brothers, along with some other bored village children, chased her to the stream. The boys carried sticks with which to beat their quarry and the other children ran after the trio, shouting and jeering with varying levels of excitement.

“Fight! Fight, fight, fight,” sang one particular troublemaker.

“Fara!” the boys yelled after her, causing even the birds in the trees to scatter and the field mice to shiver with fear. The rock rabbits and lizards scurried into the safety of the foliage, upset by the pounding of scurrying feet.

#

Fara hides in the reeds as always. Had it been planting season, the boys would have been too tired, too hungry to harass her any further, but this day has been a lazy day, and the boys are hungry for sport.

“She thinks she’s the only one in this village who knows how to swim,” says Jongito, the eldest of the twins, throwing away the rind of a guava he’s been chewing. “I’ll show her, if it’s the last thing I do!”

Fara is afraid. She trembles like the reeds she hides among.

Her heart thumps a steady staccato beat. Fara hears the sound of feet moving in her direction and she submerges one foot in the shallows. She knows that this time of year water snakes can sometimes be found here; she knows too that if her half-brothers set upon her, she’ll go home with bruises all over her body, and no one will say anything that the twins can’t laugh off.

“There, I see her by that patch,” exclaims Dodo, the younger twin by two minutes. Fara trembles, takes a deep breath, then swims to the other side.

#

This part of the river is almost stagnant. Fara swims underwater against the current, so her brothers can’t see her. It was her mother who taught her to swim like this, while her half-sisters sneered.

Fara climbs out on the far side of the river, where she finds clayey mud, and sits under a mupane tree. Across the water, Ilala, the chief’s daughter walks past and the twins follow after her. The twins are old enough now to know that girls aren’t revolting, and although marriage is nowhere near their minds, they still want to impress the girl.

“Say, Ilala, do you want to watch me catch a rabbit?” Dodo calls after her.

“Ahh, Dodo, I didn’t see you there,” Ilala says. “How are you and your brother?”

“We are well – if you are well.”

“Are you fishing in this part of the river? The fish are better upstream, you know.”

“No, we’re not fishing, we are looking for Fara. We were playing hide and seek, you see. Let us escort you to your home. Have you heard about…”

Their voices trail off, and although Fara is certain that they are gone for good, and she’s cold and hungry, she’s afraid to swim back to the other side. She begins to sculpt a doll out of the clay, talking as she does.

“Those were my brothers. You know, they can be really mean. Once they forced me into a shallow well and made me stay there for hours. If it wasn’t for one kind old man passing by, they would have left me there to die.”

It is not odd that she speaks to the doll as she works. It is her way to make dolls out of everything and speak to them. Her mother is sad enough without her adding her worries, for if her brothers are awful to her it is only because their mothers are awful to hers. They simply copy the bad example.

Soon the sun dips low into the horizon and Fara is afraid of being out alone after dark. She weighs her fears: the fear of the water snakes versus the fear of being out after dark until she remembers that further downstream the river is narrower and more shallow, and there are stepping stones to help her walk across.

She is almost home, so close she can see her mother working alone because her sister-wives can’t stand the sight of her.

Usually, the homestead is alive with activity at dusk. Girls work with their mothers to get supper ready while the boys help the young men get the cattle back into their kraals. The delicious scent of roasting meat makes Fara’s mouth water. Yet tonight, instead of the general hum of activity, everyone is standing still and staring at her. Fara looks down at her hands, her feet. She is caked in mud, despite all her efforts to clean herself in the river, but it is not the first time she’s returned home looking unruly.

It is not until her mother, Runako, calls out: “Fara, who is that you have brought with you?” that Fara realises that she has gained a shadow.

#

“Who’s your friend, Fara?” Someone else repeats the question.

One quick glance backward and Fara runs into her mother’s arms in terror.

The thing behind her looks just as she does, except it is heavy and clunky and made of clay, like the doll she had made down by the river. It is the doll she made!

Its eyes are lifeless greyish brown orbs, like the soapstone carvings that Nontrete, the famous village sculptor, makes. But soapstone carvings don’t follow people home.

The creature mimics Fara’s movements, but it is slower than her and it sways as if its body is too heavy for it to carry. Blobs of clay drop off its frame as it moves.

Fara’s heart beats so fast she thinks she’ll die right there.

It is Kamara, Fara’s stepmother, who panics first. She drops the clay pot she was holding and it breaks into shards at her feet.

“Do you see the tokoloshe Runako has made for us?” she calls out.

“She’s finally decided to kill us!” responds Nangai, who is also a wife to Fara’s father. “Aren’t you the one who always teases her, Kamara? You’ll be the first to die!”

Fara’s stepmothers speak in loud voices and upset her mother. She feels guilty for adding this burden to her mother’s shoulders.

“Don’t just stand there and stare, Nangai! She’ll kill us all! Call someone, send for help!”

Munhari, Fara’s father rushes from a neighbouring compound, attracted by the shouts and screams. He stops mid-step when he spots the doll.

“Quick! Dodo, Kono! Call the chief! Call the medicine man,” he cries, galvanising everyone into action.

By the time both the twins return with half the village in their wake, everyone who lives close enough to have heard Nangai and Kamara’s shrieks has gathered around Runako’s hut. Most of the boys are trying to look brave but their mothers are visibly shaking, and many of the toddlers are crying in fear.

By now the sky is a blue-black blanket and the stars are twinkling, the air is filled with the krtss krtss sound of the crickets. Fara and her mother stand before their hut. Fara would like to retreat inside, but the creature has stationed itself in front of the entrance, blocking her path.

“I told you that Runako was a witch. Why else did God close her womb for such a long time?” Kamara asks no one in particular.

Everyone nods in assent. Everyone except Fara and Runako, who stand as still as the creature that followed Fara home. All three of them may as well be statues.

“I tell you, I will not sleep in this compound unless something is done about that, that monstrosity!” Nangai is the first to shout above the sound of everyone’s whispers. Kamara stands behind her, egging her on.

“Since when has such evil been allowed to enter our village? I beg you; beat that Runako until she tells us what black magic this is!”

Kanyauru, an officious busybody with heroic ambitions, tries to pick the creature up, but he is unable. He finds she is heavier than granite. The other brave men of the village strike the doll with whips, sticks, and cudgels. The instruments break, but the river doll remains intact. Porani, the village strongman is summoned. His muscles ripple in his effort to move the creature, but the doll does not budge.

Finally, Shando, the village medicine man arrives. He shuffles to the front of the crowd. He stares at the river doll then nods his head, as though he can see something that everyone else cannot. The wrinkles on his face seem to furrow deeper as, with his instruments and incantations, he concentrates on the task before him. Everyone cranes their neck to watch him at work. By the time he pours the last potion onto the creature’s head, the sun is beginning to rise and the birds in the msasa trees stir, also watching the unfolding drama.

Everyone stills when the medicine man turns and faces the crowd. The gossips and the children, and even the cattle in the kraals wait expectantly.

“I have failed to cleanse this magic,” he proclaims finally, “the creature will have to stay. But if there is any trouble, it will rest on the head of Runako.”

Kamara and Nangai spit in the general direction of the doll, but other than that they can do nothing. The other would-be objectors are too tired to protest, and amble back to their own homes instead, leaving Fara and Runako alone with the river doll. However, Kamara and Nangai decide to stay in their friends’ homestead, and they take their children with them.

Fara thinks of running too, of going to some relative’s home and staying there until the scary doll has gone away, but her grandparents died long before she was born; her mother has few friends and fewer relatives.

Runako sighs and sits in the dust with her head in the hands. Fara thinks she looks like a little girl who wants to cry. She feels bad because, despite all the bad things people have said to Runako, Fara has never seen her crack like this.

“Well, are you hungry?” Runako finally asks Fara.

When Fara shakes her head, Runako nods but this does not ease the frown that has clouded her face since the doll arrived.

#

The sickness begins with the boys, the twins to be exact. Two moons after the arrival of the river doll, they begin to complain that their eyes are gritty and their throats are parched.

Fara watches on as their mother, Kamara, reminds them that it is always hot this time of the year, and that there is nothing to complain about. This doesn’t stop her from walking to the area behind Runako’s hut, where Fara and the river doll are helping Runako to winnow millet , and slapping Runako across the face.

“Whatever witchcraft you’ve concocted, Runako, I will search it out and pay you back,” she says. “You mark my words.”

Kamara always accuses Runako of witchcraft whenever her boys are sick. Fara knows Kamara wishes she was father’s first wife instead of Runako. The only reason her own mother was cast aside was because she couldn’t have children for a long time, and when the heavens finally smiled upon her, all that came was a girl. If Kamara hadn’t given birth to twin sons in her first year of marriage, she wouldn’t be as important as she is now. Fara hopes the twins die.

Soon all the children begin making pilgrimages to the river, carrying gourds, calabashes, clay pots, anything they can gather water with. They drink and drink but their thirst isn’t quenched.

Nanita, a short child of seven years, is the first to say she feels tired all the time, that her limbs are too heavy to carry her. Fara feels bad for Nanita, even though she refused to help her escape from the shallow well her half-brothers once trapped her in. Again, the medicine man is summoned to the village. Again he recites his incantations, and prescribes his potions. But in the end, he throws his hands in the air and shakes his head. He cannot divine this illness.

#

The day of reckoning comes with a cloud of dust. That is how Fara sees it — a whole horde of women walking so resolutely that the dust rises around their feet. They may as well be warriors on their way to battle, except they are wearing colourful wrappers and have only clenched fists in their hands. They gather at the clearing in the middle of Munhari’s compound in front of Runako’s hut, where they find her pounding millet outside. Fara and the river doll watch from underneath the shade of a msasa tree nearby.

A few men from the neighbouring compounds join the commotion and although the men aren’t as vocal as their wives, their anger is etched deeply on their faces. Nangai, who was absent when the rest of the women arrived, now walks toward the front of the crowd with the village medicine man in tow.

Fara is surprised by the fuss. At first, she too was afraid of the creature, but it would follow her everywhere and help her with her chores. The doll would even sit cross-legged next to Fara whenever Runako would tell folktales after supper. This unnerved her at first, but after a while as the doll began to look more like her than an overgrown mud pie, she began to speak to it more and more.

She almost jumped out of her skin when it answered her one day, speaking with a voice that sounded oddly like her own.  That’s when she realised the river doll was the only friend she had and she named it Oseja, the same way she had named the other dolls she had made. Now, no one would believe Oseja was once made of clay, at least not by looking at her.

“It is Runako! Runako has bewitched our children. Her own child runs free and plays games while our daughters lie wasting in our arms,” shouts Oga Mahaya, the worst gossip in the village and de facto general of the mob. “Beat her until she spills it all! Beat her, beat her, I say!”

“We will not suffer witchcraft,” agrees Kamara, holding her twins to herself as if that will protect them from the mysterious illness that has beset the other children of the village.

“Runako must pay for this,” says Shuriya, who was once Runako’s closest friend. Fara watches her mother flinch when she hears this. She is used to Kamara’s barbs, but Shuriya has eaten in their hut on more than one occasion.

The village women have started throwing rotten fruit and excrement at Runako, and Fara and Oseja come to her mother’s side. They do their best to hide behind Runako’s wrapper but it is of no use. Stray missiles land on them. Fara’s eyes prickle with angry tears. This is her fault. If she hadn’t made Oseja then no one would have cause to shout at her mother like this. This is worse than all the bullying she’s suffered at her brother’s hands.

Munhari, Fara’s father has heard the commotion and rushes out of his hut. He raises his hands and comes to stand between Runako and the rest of the village. He clears his throat meaningfully before speaking.

“Yes, your concerns are indeed valid, but if we harm the girl, err, the river doll, it will bring dishonour to our village. If Runako is a witch, she cannot undo her curses if she is dead. Let’s call the strongest men to guard the hut then summon the paramount chief to judge the matter.”

The crowd is not easily persuaded.

“You only say that because she is your wife,” Shuriya says. “Do you want your other children to die? It is men like you, Munhari, who allow witchcraft to enter our village.” The village medicine man interjects, “Munhari is right. If the witch is dead, she can’t reverse this illness. We must find another way.”

One scoundrel throws cow dung at Munhari. The missile is swift but inaccurate, landing on the wall of Runako’s hut instead.

“Go inside and wait for me, my children,” Runako whispers to Fara and Oseja.

Silently, the two girls walk into the hut. Fara sits in the darkest part of the hut, her back against the wall, while Oseja sits near the door, watching the unfolding events. Fara can’t see the people outside but she can hear their angry voices as she drifts into a fitful sleep.

#

The next morning is unbearably still, unbearably silent. By the time Fara rises, the sun has travelled far enough in the sky for it to be a hot day. She feels thirsty and weak, then remembers she didn’t have time to eat or drink before falling asleep.

Blood curdles in her stomach as she recalls the shouts from the night before. Some people’s cruelty has no boundaries.

“If Shando is not strong enough to cure our children, he doesn’t deserve to be our medicine man. We must find another,” she remembers Kamara saying.

“Surely, there are men who are not cowards in this kingdom. Was it not Shando who failed us? If he fails again, we shall banish him along with that witch,” Shuriya said.

“Banishment is mercy. Who is to say they won’t bewitch us from wherever they settle?” Oga Mahaya asked. “We must burn them, all three: mother, child, and tokoloshe!”

“Yes!” shouted some people in the crowd but others argued it was too drastic, too cruel. By the time Fara fell asleep, no clear decision had been made.

Fara sits up and notices Oseja is still sitting by the door and looking out toward the outside world. The side of her face that Fara can see is radiant. She looks so pretty that if Fara didn’t know she had been a doll before she would never have guessed it now.

“Where’s Mama?” Fara asks.

Oseja shrugs without turning back to face Fara.

Fara walks toward the door and braces herself for angry villagers throwing all sorts of objects at them and saying horrible things about her mother.  The scene she sees instead makes her blood run cold.

The strong men set to guard the front of the hut have turned to clay, like Oseja when she first left the river. Kamara has turned to stone, her hand frozen in the process of throwing an overripe zhanje toward the hut. The zhanje is still ripe and green bottle flies buzz around it. Oga Mahiya’s body is also frozen but her nose is still fleshy and brown and the whites of her eyes move around in anger and accusation. Fara looks back at Oseja and a smile passes between them.

Fara runs through the crowd of frozen people and finds the statues that used to be her brothers. They are completely solidified and she feels even gladder. All the mean people who said cruel words to her mother and her are gone!

“Mama! Mama,” Fara calls, eager to tell her mother the good news, but Runako is nowhere to be found. Again she weaves through the sea of frozen people, taking care not to bump into them lest they fall on her.

She finds her mother behind her father’s hut. Runako and Munhari stand together, holding hands, but when Fara looks closely she realises that their legs have ossified and their faces are ashy.

Fara’s heart pounds in her chest.

“Oseja,” she calls out, “Oseja! What have you done?”

Although she doesn’t hear the river doll’s footsteps, Fara knows she is right there behind her.

The river doll cocks her head to the side. “You want me to save Mama?” she asks.

Fara nods her head vigorously, not taking care to wipe the tears that roll down her face.

“But I will have to turn you,” the doll says, and suddenly Fara has a feeling that Oseja is older than she appears to be.

Fara looks at her mother, who has been laughed at by Munhari’s other wives and never said a word back to them.

“Take me instead,” she says.

“Are you sure?”

Fara nods her head. Her legs begin to feel heavier and her throat is so dry she thinks she’ll die. Fara wants to tell Oseja to stop but then she looks at her mother and reminds herself that big girls aren’t selfish. The last thing she remembers is a fat drop of rain landing between her eyes. She wants to wipe it away but her hands have turned to stone.

#

When she wakes, it is like one of those days when she’s gone to bed feeling tired and awoken with every muscle feeling rested. There is no thirst and no pain. She is in a clearing in the forest, a place she almost recognises but doesn’t remember visiting.

“You’re awake!” Oseja cries happily and the events of the past days rush back to Fara. A cold wave of panic hits her.

“You were supposed to save Mama instead of me! You promised.”

Yet the river doll, now fully human, simply giggles and grabs Fara’s hand.

“Come with me,” she says. She drags Fara as she runs along, weaving through the trees, until they stop at a different clearing. This one is larger and filled with music. Fara sees many people gathered, laughing and happy. People she has never seen before. Oseja drags her into the crowd and points at a beautiful woman in a red wrapper.

“Mama!” Fara cries but Runako doesn’t turn toward her. A younger version of Fara’s father appears beside Runako and embraces her. If Runako looks prettier than she did before, then Munhari looks younger than ever. It is as though many cares have been taken from their shoulders and they are happy again. Fara has never felt this elated.

“Yes, that’s Mama but she can’t hear you.”

“But how?” Fara interjects.

“Your parents were willing to lay down their lives for you and you would lay down your life for them. You were the only selfless ones in the village. Everyone else remained a stone.

“Come,” Oseja says, taking her hand again. “This is a happy place for grownups. We are going somewhere different, where only children can enter.”

Fara is afraid of the unknown but she knows she must be brave, and more importantly, she knows that is ready for whatever lies ahead.

Tariro Ndoro writes poetry and short fiction from Harare, Zimbabwe. Her work has been published in many journals and anthologies, including Afreada, Fireside Fiction,La Shamba and Puerto del Sol. Links to Tariro’s work can be found atwww.tarirondoro.wordpress.com and you can follow her on Twitter (@MissTariN).

Review: Tochi Onyebuchi’s Beasts Made of Night – Sanya Noel

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By Sanya Noel

Tochi Onyebuchi’s debut fantasy novel, Beasts Made of Night, is a complex labyrinth of a creation. It opens with Taj, an aki, one who eats the sins committed by others and carries their guilt for pay. He is the best in the walled city of Kos and is referred to as both Sky-Fist and Lightbringer.

Taj has been called to the palace to kill and eat an inisisa, a sin-beast that has been drawn out of a sinner’s body by a mage. It is a job that can often overwhelm an aki, especially if they aren’t skilled enough. Escaped sins can attack and even kill people. Their accumulation, on the other hand, attracts the arashi, mythical creatures that can cause total destruction.

Sins, once eaten, form a tattoo of the sin-beast on the aki’s skin. The smaller the sin, the smaller the tattoo. After a while, these tattoos fade away. Taj is different, though; his don’t fade. They remain as prominent as they were on first appearance. Once Taj runs out of skin for tattoos, he is sure that he’ll cross over – a comatose state that is the price of being killed by an inisisa.

Taj’s capacity to eat sin sets him up for manipulation. He’s tricked into service of the king, for example, and Onyebuchi hinges his story on the secret plans, and intricate conspiracies and counter-conspiracies, that Taj finds.

*

Onyebuchi builds a world that, at a glance, can be quite dizzying. The city is run on a capitalist economic system based on the number of sins committed: The purest people rule the city – and the king and his royal family are the purest of them all.

Cleansing a sin is expensive, therefore the poorer one is, the more sins one is likely to carry around, and sin causes illness and even death. In his youth, Taj saw his mother suffer from an illness that would not heal. Getting an aki to eat her sin put the whole family in debt, which Taj is now working to clear while also providing for their living.

In this system, the aki are the lowest in rank; they are feared and despised. Children who are found to have the capacity to become akis are sent away to live with other akis and eat sins for the rest of their lives. However, Onyebuchi shows there are advantages to being an aki. No one wants to touch them, which makes it easy for them to manoeuvre through the city. At one point, a trader swindles a woman by selling her a drug to eradicate an illness that Taj knows needs a sin eater. And because everyone opens the way for akis, fearful of touching them, Taj manages to rob the trader of his money, which he sends home to his parents.

The intricate world Onyebuchi builds comes at a price, though. The dialogue often leaves the reader dissatisfied and some descriptions seem like hyperboles.

“We slap our hands together, and it makes the most satisfying sound in the entire Kingdom of Odo. It’s so good we can’t stop laughing,” Onyebuchi writes in chapter five.

But this does not diminish the story in any way. Onyebuchi’s tale is forward-oriented, moving all the time, and nearly every character has a purpose which they contribute to this motion.

Onyebuchi’s novel is, however, not a completely new invention of the wheel. There are similarities to other fantasy stories. Taj’s moniker, Lightbringer, reminds one of George R. R. Martin’s legendary sword in his A Song of Ice and Fire series. The act of sin eating comes up in Jeremy Crane’s character in Philip Iscove’s TV series, Sleepy Hollow.

Onyebuchi’s Beasts Made of Night also borrows heavily from biblical narratives. The Christian idea of sacrifice, in which animals or plants took the brunt of human sin, has been around since the story of Cain and Abel. The story of Jesus dying for humankind’s sins is at the centre of Christian theology. Akis are sacrifices that take the brunt of human sin. Their fate, like Jesus’, is also to die in the end.

*

At first, reading the book was a little bumpy for me. The writer starts his novel as if in conversation with an old friend, and the first person narration does not make it any better. The immersion into the world of Kos was so abrupt, that for a while, I wondered what aki even were. Even after I learned they were sin eaters, I still wondered what sin eating was. This disorientation is increased by the introduction of other terms. However, as one catches on, like the storyline of a movie they’ve caught in the middle, one can get it as they continue reading.

This book doesn’t end satisfactorily, though. Perhaps this is to set the reader up for a sequel to tie the story up. In her review of the book on NPR, Caitlyn Paxon called it “The beginning of a great saga.”

There will be a sequel, one hopes. There should be a sequel. There must be a sequel.

Sanya Noel lives in Nairobi. He’s an editor at Enkare Review.

 

From Kwezi to The Black Panther: The Progressive Politics of the Black Superhero in Comics

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By Advik Beni

It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.” (Berger, 1972: 7)

John Berger, writer for the critically-acclaimed television show Ways of Seeing, aims to explain the notion surrounding the way people view art. This statement shows that ‘words’ and the ‘world around us’ have a pivotal relationship. Artistic creations are an interpretation of the world, but still carry with them a sense of truth.

For example, if an artist paints a cat they are creating a subjective and creative interpretation of this cat. When someone buys this painting, they are not buying the tangible cat but the representation of the cat. However, the fact that the consumer sees it as a cat means that it carries an element of truth. This is the same way in which fictional literature manages to comment on real world problems through fantastical constructs.

Berger shows a subtle preference for the visual’s ability to create a lasting interpretation of real world situations, over the written, though this is a whole other debate. But if many people perceive the ‘visual’ as being the more astute portrayal of the real world, then the comic book medium, which merges both literary and visual components into one seamless narrative, becomes even more important to discuss.

Jonathan Gayle states that comic books manage to “reflect the kinetic societal context within which comic books and comic book characters are created.” (White Scripts and Black Supermen, 2011). What Gayle is saying, is that the medium of comic books have a strong link with the real-world situations that it stems from. The comic is a mirror in which the societal circumstances can be understood. Thus, this discussion – by comparing The Black Panther and Kwezi comics – will aim to examine the politics surrounding the black body in comics and, in particular, the way in which these representations have changed.

Kwezi is a South African superhero comic that began in 2014, and has achieved a lot of traction in the South African market due to it being the first representation of a black South African superhero in this format. It follows the story of young boy named Kwezi who attempts to find his purpose as a superhero. As it was created almost 50 years after Black Panther was first introduced, it acts as an ideal candidate to track the way politics of the black body have changed. These politics include the representation of black identities, narrative structures, and the creation of fictional worlds. Black Panther and Kwezi were created at different times in history and in different spaces, therefore comparing them will allow for an analysis of the advancements – if any – of how black bodies and their stories have been presented to the world.

The main facets of these representations that will be discussed will be: the identity of the respective authors of these comics, the worlds the comics take place in, the main characters, and finally, the representation of African elements and traditions.

In economics, when looking at the condition of two countries it is advised to take either a peak or a trough from both countries for comparison – not a peak from one and the trough from another (Mohr, 2015: 411). Since Kwezi is still in still in its ‘inception’ as a comic, it makes sense to compare it to the ‘inception’ comics of The Black Panther series in order to examine how the politics around the representation of black superheroes has progressed over the last 50 years. Thus, Kwezi #1-3 (Mkize, 2014) and Kwezi #4-6 (Mkize, 2016) will be compared against the early days of The Black Panther, specifically the Fantastic Four #52 (Lee, 1966) up to Jungle Action #5 (Thomas, 1973) period.

***

The superhero comic has always been a medium in which the white power fantasy was able to operate on a primary level. This means that stereotypes, especially those pertaining to black bodies, were immortalized in early comics. Until the civil rights movement affected the media in the 1960s and 1970s, the representations of black people in many comics were routinely racist (Wanzo, 2010: 96).

The Black Panther character was created in 1966 when the Civil Rights Movement was gaining significant social awareness, though it emerged from the pen of two white men – Stan Lee and Jack Kirby. This creation is what philosopher Frantz Fanon describes in his book Black Skin, White Masks as “The white man justifying the black narrative through a schema of masochism.” (2008: 136) In other words, the creation of Black Panther was merely one example in which the white population was attempting to understand the black narrative by assimilating it.

The introduction of the Black Panther character was a business decision implemented to profit off the black man’s struggle. This was made clear when, for a short spell in the 1970s, T’Challa’s alter ego’s name was changed from the Black Panther to the Black Leopard in order to disassociate the character from the Black Panther group which was gaining traction among primarily Black populaces during the Civil Rights Movement. Whatever noble aspirations that might have been associated with those early days, this act showed a preference for marketing and making money as opposed to making a bold social statement.

However, with the creation of Kwezi we see it is possible to fathom a progression that allows black writers to create a self-narrative with a more contextual and appropriate social commentary. Kwezi was created by a young black artist named Loyise Mkize. The fact that the creation of a ‘black comic’ was done by a black individual is a major advancement. Although many story arcs in ‘black comics’ have now been taken over by black authors, black-created comics are not as common as they should be. This means that the comic features a more socially aware narrative based on lived experience rather than through secondary accounts.

Speaking in a 2015 interview, Mkize said that he wanted his work to represent black excellence and that his audience must “See themselves in the work – as grand, majestic beings worthy of being referred to.” (Mkhwanazi, 2015)  This shows an authorship whose priority is not just money. Mkize follows Burkinabe film director Gaston Kobore’s notion that: “If Africa does not acquire the capacity to forge its own gaze, so as to confront its own image, it will lose its point of view and its self-awareness.” (2006: xiv)

***

The next facet to be discussed is the fictional worlds that both ­The Black Panther and Kwezi are based in ­­– Wakanda and the Gold City, respectively. Interestingly, this is one feature where there is a progression that is not wholly advantageous in the discussion of black bodies in comics. Both Wakanda and the Gold City have integral flaws and strengths in their construction.

Wakanda has two layers. On the peripheral layer it is seen as primitive and undeveloped, but on the inside it is technologically superior, yet still has a strong link to nature. In Mister Fantastic’s first visit to Wakanda he exclaims: “The entire typography and flora are electronically-controlled mechanical apparatus!” (Lee, 1966: 9) The strength of this is that it allows for a perspective of African modernity that does not rely on colonial technologies. However, this platform is fundamentally stereotypical. By construing that Wakandan technology is a mimic of nature, it intensifies the stereotypes of the African body as exotic in being deeply sensitive to nature (Milbury-Steen, 1980: 69).

The stereotype of the ‘exotic’ African landscape that was prominent in early comics is what the Gold City in Kwezi tries to stay away from, but in doing so it produces another flaw. Gold City is a homage to Johannesburg, but many of the aspects that give Johannesburg its character are stripped away. Professor Timothy Wright describes it as a neutralized Afropolitan Johannesburg that manages to circumvent the harsh realities of mine dumps and poverty in order to become a generic urban modernity. One which still casts black people as inheritors of a colonial modernity rather than creators (2017: 7).  This leads to the neglect of the post-colonial structures that play a prominent role in forging an African city’s identity.

***

Next is the progression in the development of the main characters – from T’Challa to Kwezi. The late pioneer of new age black comic books, Dwayne McDuffie, had this to say about early black characters in the medium:

“In comics, there are two kinds of people. There’s Shaft and there’s Sidney Poitier. You’re one or the other. You’re either the baddest-ass bad ass who ever badassed or you’re, like, better than white guys. And those are the two things.” (White Scripts and Black Supermen, 2011)

Reginald Hudlin, author of several Black Panther comics, has openly stated that Black Panther’s initial runs fall into the Sidney Poitier trope in which maintaining your dignity through all tribulations was key (White Scripts and Black Supermen, 2011). This was an overcompensation for previous racist stereotypes.

Black Panther’s authors wanted to show that black superheroes could be equal, or even better, in comparison to their white counterparts. However, the Black Panther, in his initial appearance in the Stan Lee and Jack Kirby comics, was predominantly in America fighting for white people. This meant the character was often blindly following a sense of duty to a system of white supremacy. Because of this, the Black Panther of this period was a conflicted character who longed for both Western ideals and his African traditions. (Gordimer, 1973:9) In doing this the character’s creators unknowingly implemented the hyper-masculine and ‘impenetrable black skin’ stereotype upon the Black Panther showing a level of ignorance of the individuality of the black body.

Initially, the Black Panther was merely a friend of the Fantastic Four, whom he helped whenever they were in need. He became a source of improved technology and extra support in battles. It was not until after this initial run that the character helped his own country and people. The Panther essentially became a modern-day servant to the white community.

Kwezi, in the development of its characters, manages to diverge from the stereotype of the ‘Sidney Poitier’ comic book hero, a fact that is demonstrated through the absence of white characters in any of the publications. The character Kwezi begins as a young narcissistic kid with superpowers who morphs into a superhero as the issues progress. Throughout, Kwezi does not seem to have any longing for white ideals.

Kwezi’s creator Mkize seems to focus more squarely on the development of the character’s individual identity – rather than adopting stereotyped black character tropes. This comes down to the fact that Mkize has the lived experience of being a black person. This in itself is progressive because it means that the black identity can be more fully explored. Kwezi is a model of transformative blackness, which entails a black identity that is open to a multiplicity of developmental and transformative possibilities. (Wright, 2017: 10) It creates a narrative into which many Africans can situate themselves, instead of just being passive entities in a white power fantasy.

***

The final point I want to cover in relation to the progressive politics of the black superhero is African traditions. Given that both Kwezi and the Black Panther are from Africa, both their stories include elements of African traditions. However, the early days of The Black Panther do not actually include any purely African elements. This is partly due to the fact that T’Challa is extracted from his world very early in his narrative. The only African elements that are evident in his stories are a sense of monarchy which is shown on a purely superficial level to allow T’Challa to be seen as aristocratically noble – and thus, as a “noble savage” character.

Mkize, on the other hand, attempts to continually weave African traditions and elements into the narrative of Kwezi. He does this through the use of oral traditions as expressed in the Star People, an ancient sect of which Kwezi is a descendent. In Kwezi, the Star People are seen as mythical and of great stature, but nothing much is known about them as of yet. The Star People are based on an oral tale from the Dogon Tribe who believe that their oldest ancestors are embedded within the stars and have ceremonies to honour them every fifty years when these stars are visible. (Parin & Morgenthaler, 1963: 201)

Orality is pivotal in African traditions – with speech, performance, poetry, epigrams, and griots being an integral part of the continent’s means of entertaining, educating, expressing, and experiencing. Thus the inclusion of this in Kwezi  makes the comic a distinct modern African piece. (Vambe, 2004: 111) These traditional elements are no longer suppressed, but are now used in order to add a richness and diversity to the narrative of the black superhero comic. The progressive politics at play here work as a means of allowing the African traditions to live on.

***

It is still clear that there has been a huge change in the politics surrounding the black body in comics over the past fifty years. Authors have shifted from white to black, characters have become more complex, and the inclusion of African traditions adds visual and textual depth. The settings may still need work but this just means that no body of text can truly be complete.

In terms of black super hero comics, it is clear there has been a dynamic shift in the politics surrounding representation. Black authors now have much more agency in creating their own identities and stories. Although Black Panther may not have initially been an instigator of this agency, it has managed to progress within its own timeline. From 1966 to the 2000s Black Panther has seen a massive amount of progression, with the introduction of Ta-Nehisi Coates at the helm of the recent run of Black Panther comics to the predominantly black cast and black production of this year’s Black Panther movie.

Following in this tradition, Loyiso Mkize has managed to create a comic book which has managed to add more layers to the discussion of black comics in order to progress a multiplicity of identities relating to the black superhero that had once been overlooked. So, although there has been progression in the new creations of black superheroes, there has also been an equally relevant progression in reinvigorating old creations – which, as a whole, portrays improvement and growth in the politics of black bodies.

Reference List 

  • Armes, R. 2006. Epigraph. In African Filmmaking: North and South of the Sahara. United Kingdom: Edinburgh University Press Ltd. 
  • Berger, J. 1972. Ways of Seeing. Great Britain: Penguin Books Ltd. 
  • Coates, T. 2016. Black Panther, Vol. 1: A Nation Under Our Feet. New York: Marvel Worldwide, Inc. 
  • Fanon, F. 2008. Black Skin, White Masks. New ed. London: Pluto Press. 
  • Gordimer, N. 1973. The Black Interpreters: Notes on African Writing. Johannesburg: Raven Press.
  • Hudlin, R. 2006. Black Panther, Vol. 1: Who is the Black Panther? New York: Marvel Worldwide, Inc. 
  • Lee, S. 1966. Fantastic Four #52. New York: Marvel Comics Group.

 

  • Milbury-Steen, S. 1980. European and African Stereotypes in Twentieth-Century Fiction. London: The Macmillan Press Ltd. 
  • Mkize, L. 2014. Kwezi 1-3 Collector’s Edition. Cape Town: David Philip Publishers. 
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Advik Beni is a 19-year-old student at the University of Cape Town. He is in his second year of study. He is studying Screen Production, as well as majoring in English Literary Studies.