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Always A Part of You: Ode to a
Childhood Home
I spent this past weekend at my childhood home in Yonkers, NY, showing my daughter where Daddy grew up and helping my parents pack up a few final things before the big move. After thirty eight years, our old three-story Victorian will house some other lucky family. As I walked around the near-empty rooms it struck me how much that house shaped my ideas about space, architecture and design. While I will miss countless things about it, here are some details that epitomize why it will always be a treasured place to me.
Large Doors: I never actually measured how tall the doors are but they loom large in my memory. Heavy, solid and substantial, they always made me feel secure and safe. I remember spending many an hour standing at the door, watching traffic go by and waiting for cousins to arrive. It was a treat to watch my daughter do the same thing.
High Coffered Ceilings: Nine-foot tall Christmas trees were not a problem in this house. The big tic-tac-toe boards on the ceilings mystified me as a kid but I know now that they helped me develop an appreciation for detail and trim work.
Antique Fixtures: I was surrounded by old stuff growing up, and not because my parents were collectors. Old wiring, plumbing and light fixtures were everywhere and fostered in me a love of finely crafted utilitarian antiques. I used to stealthily pull the lever on that black box at the top of the basement stairs, pretending I was a mad scientist entering his laboratory. I never told anyone because I knew my father would flip out. I finally told him about it this weekend. He flipped out.
Front Porch Flower Garden: I know it doesn't look like much now, but that little patch is pretty impressive in full bloom. This spot provided some good bonding time between me and my mother and introduced me to annuals, perennials and the importance of deadheading.
The Basement: This big dusty basement was the scene of all types of mischief and eventually became the practice place for a string of horrible bands in high school. The painted walls are remnants of when it was used as a set for an After-School Special, a little fact I still get mileage from today. After I learned a bit about carpentry I studied the rafters and posts to learn about load transfer and bridging.
The Renovated Kitchen: I know this kitchen that my dad and I renovated together will not win any design awards, and in fact it does not even match the rest of the house all that well. But it made my mom happy, and it was a huge step in the relationship between me and my father. The month or so it took us to get this done (and trust me, it was a bleak kitchen beforehand) caused my dad to see me in a new light and accept the fact that my carpentry skills had surpassed his own. We worked together as equals for the first time, and haven't looked back since.
Stained Glass: While this style of stained glass isn't my favorite, the fact that it can be found throughout the house definitely made an impression upon me. I realized stained glass wasn't just for our church down the street and that a little went a long way. I pledged that I would have stained glass in my own house, and I followed through on that pledge and made it happen.
The Old Phone: The ring of this phone is imprinted in my mind permanently. Learning to dial, calling girls, making prank calls--there is a lot of history in this heavy black machine. Believe it or not, though it is relegated to a dusty upstairs location, it is still connected and working. My parents plan to take it with them and hook it up in their new house. Nostalgia must run in the family.
Winnie the Pooh Wallpaper We moved into this house with my grandmother and uncle, who lived on the first floor. My family mostly lived on the second floor, with the third floor being me and my brothers' attic bedroom. It was a huge space with crazily angled ceilings and a view of the Hudson River and the Palisades. My dad must have hung this wallpaper back in 1974 when we first moved in. It is still there, cheerful as ever.
And finally, there is the front door lockset:
What a handsome piece of work. Thousands upon thousands of openings and closings, locking and unlockings, and it never has failed or needed repair. It will undoubtedly be there for as long as people want it to be, and I hope that is a long time. And what is a lockset without a key:
I have carried this key for over twenty-five years, even when I lived thousands of miles away. My key chain seems all wrong without it. Sigh.
Thanks for indulging my last look at a place that is as much a part of me as anywhere else on earth. Although I carry it with me in thousands of ways, I still miss it dearly.
(Images: Richard Popovic)
10 Comments
Richard...great post and loved the pictures. I'm dreading the day my parents leave my childhood home (for whatever reason). I don't think I will be able to handle not going there, or the thought of strangers living there.
this is one of my favorite AT articles ever! best wishes and may the memories of your home stay strong and with you always!
Great post! Really enjoyed this.
Made me think back on my own childhood home. I grew up in a 70's single-story ranch, w/ an open floor plan. Guess what type of house my husband and I now live in? :)
Thank you for sharing this. Saying goodbye to your childhood home is such a rite of passage. I was lucky to avoid it until this summer, after 43 years. I'm sure I will always be a little homesick for that little Cape Cod.
perfect post, beautifully written... very much reminds me of the judy collins song "secret gardens of the heart":..thanks so much for letting us all share your experience/memories.......
Your article made my day, thank you. I am really moved and although the house that I grew up does not bring back many good memories, I really wish my son feels about our home now the way you do.
What a lovely piece. Thank you for sharing this.
Thanks to all for the kind words, they lessened the sting.
Loved this post! It's made me ponder what I want our baby girl to remember from her childhood home as we are considering relocating.
Great article! I'm doing a university project on childhood homes collecting images and stories to create an online exhibition of all the places we once lived www.ilivedhere.wordpress.com - I think it's important to remember your childhood, was the best time for most of us!


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Monkey, monkey, chimpanzee, chimpanzee, gorilla, orang utan, barrel organ, barrel organ, carnival, fez, cymbals, cymbals, cymbal, drum beat, beat, toys, tin toys, flea market, carnival, clown, beggars
This great product in red from our department Accessories and Apron category can be printed just for you in the size and style you like. The design Dancing monkey was created by chrisbears and uploaded to Spreadshirt for you to have printed on a Apron. Next to a host of other great designs, you can find this Dancing monkey design in Spreadshirt's Miscellaneous category. If you are interested in topics like Carnival or Gorilla, then you'll love Dancing monkey designs by chrisbears. Spreadshirt also offers a huge selection of personalised T-shirts, hoodies and accessories for the category Miscellaneous as well as top Monkey clothing. chrisbears's designs have already impressed many of our customers, so we are sure that we've got right stuff for you! Spreadshirt is your shop for great designs of all kinds – whether it's Carnival, Gorilla or Monkey. We are sure that you will find something nice in our shop, there are many amazing personalised Miscellaneous T-shirts, jumpers or accessories for you to find!Tags: Design ID: 13504642
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Sanda Weigl
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BBC Reviews
Gypsy KillerReviewed by Bill Tilland
Romanian expat sings traditional gypsy songs. Dramatic, passionate and sometimes...


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In my recent Emmys post I mentioned the series Orphan Black. This Canadian offering first hit the airwaves in March of 2013 and we have seasons one and two---and it has been renewed for a third season. Filmed in Toronto and populated almost exclusively with Canadian talent, it does not necessarily take place in Toronto. Although it makes no effort to disguise its Ontario locales, Toronto is mostly intended to stand in as 'Generica'- any large modern city.
It has already been nominated for and won numerous awards but inexplicably isn't up for any Emmys. This is a head scratcher for me because Tatiana Maslany is easily as good as Claire Danes (Homeland) and Michelle Dockery (Downton), and way better than Robin Wright (House of Cards) and Julianna Marguiles (The Good Wife), both of whom put me to sleep with their performances. And the series itself far surpasses Mad Men and House of Cards, and is as good as Breaking Bad and Downton Abbey (although the one to beat in the Outstanding Drama category still remains for me, True Detective). Now having said this, it won't appeal to as broad a base as some of the above mentioned, but I still strongly maintain it deserves some nods.
I can't tell you too much about Maslany's performance without giving stuff away, but if and when you do watch it you'll know why I choose hers as the best performance. This is a near-future Sci-Fi/ Thriller combo, with great pacing, lots of plot twists and very compelling characters. Many things here to keep even the most seasoned or jaded viewers guessing.
There is no denying the huge popular and critical appeal of the granddaddy of all costume dramas, Downton Abbey. And with good reason: a tremendous cast, a glorious real life manor for a location, attention to period detail like you can't believe, costumes that leave you drooling, love, death, revenge, war, plague — I ask you, what's not to like!
For all those of you eagerly awaiting the start of Season Four on January 5, 2014 why not take the opportunity to catch up on the first 3 seasons. Haven't seen it yet? What on earth are you waiting for? Find out why people have been talking about this series for the past three years.
And because we here at CPL know how tremendously popular this series is, even though it has not yet aired, we have it on order and you can place your holds on Season 4 already! How's that for proactive?
The 19th annual SAG's (Screen Actor's Guild Awards) were this past weekend and a lot of the people making a trip up to the podium were just up there for the Golden Globes a couple of weeks ago. Daniel Day-Lewis for Lincoln, Anne Hathaway for Les Mis, Claire Danes for Homeland, Kevin Costner for Hatfields and McCoys.
Once again Argo got top honours under the category 'Outstanding Performance by a Cast in a Motion Picture'. Now I guess that isn't quite the same as winning for best picture, but it certainly is gathering momentum leading up to the Oscars. If you read my earlier post you know that I thought that Argo was marginal at best as a movie, and as anything closely resembling history, sadly lacking. There is a very interesting article in the January 28th Maclean's magazine about the movie, called Movies That Make History (Volume 126 issue 3). There is a quote from the real Ken Taylor (former Canadian ambassador to Iran), who says "the filmmakers stole a good story and gave CIA spy Tony Mendez the credit of Canada's role in engineering the escape of 6 US diplomats during the 1979 Iran hostage crisis." Affleck has been insisting that his movie is 'extremely accurate and relevant' but when he heard this he went into damage control mode, made Taylor the guest of honour at a Washington premiere and hailed him as a hero. Then Victor Garber who played Taylor in the movie weighed in, more words were exchanged and on and on.
As I mentioned, the article is very good and well worth the read. Do you know that you don't have to buy the magazine on the newsstand, or even look for it on our shelves. You can get it free on-line with your handy dandy library card. Just go to E-Library from our homepage, then Newspapers and Magazines. Now click on Academic Search Elite (an EbscoHost database). At the top go into Publications, and then click on "M" for Maclean's. Click on Maclean's and then click on "+Jan 2013" on the right, under "All Issues", and there it is: Volume 126, Issue 3, and all the articles from that issue, including Movies That Make History.
Have a read of this very well written article — and now that you know how to find magazines, spend some more time in this great database — one of hundreds that come free with your library card.
I have to agree with Moe. I'm not sure about this award show. I mean, Ben Affleck for best director over Ang Lee and Spielberg? Come on! Good thing the real business of the show is to show off all those great dresses. Even so, there's so much chat and a big rush to seat everyone, that we miss a lot of them. We can't show them here, but here's a list of my favorites:
Best black and gold:
Kate Hudson and Helen Mirren looked like super-heroines in Alexander McQueen and Badgley Mischka respectively.
Best reds (Isn't red a neutral?):
Jennifer Garner in sparkling strapless Vivienne Westwood
Claire Danes in plunging Versace
Naomi Watts' 1940s style crepe and satin gown was lovely but few commented on it sadly.
Best white:
Anne Hathaway in 2 piece Chanel corset with skirt looked great
Best Colour:
Tracey Pollan was classically elegant in fuschia silk one shouldered Ralph Lauren
Jessica Alba was fresh in peach Oscar de la Renta. Anyone who can pull off peach, taffetta and a ruffle deserves an award.
You couldn't argue with Jodie Foster in her knockout blue beaded gown.
Best Nude:
Helen Hunt in Dolce and Cabana. The column style and horizontal beading made this one a little different.
Best showing lots:
Juliana Margulies in sheer black Pucci.
Best showing little:
Adelle in a black Burberry floor length with 3/4 sleeves suited to her 1960s style.
Best short:
For sure Rachel Weiss' short sleeve long sheer polka dot over black was the best.
Best Black:
Rosie Huntington Whitely's Saint Laurent bow tied sleeveless was super cool.
All of Tina Fey's dresses were sensational on her. Nobody can pull off a 3/4 length and she looked great in L'Wren Scott. Plus she's smart and hilarious.
You can view all 100 dresses at:http://www.hollywoodreporter.com/gallery/100-golden-globe-gowns-411984
Here are just a few topical library books to go with the outfits: Bossypants, The Party Dress, The Naked and the Dressed: 20 years of Versace, Alexander McQueen: Savage Beauty, Ralph Lauren, Chanel: Collections and Creations, Dolce and Gabbana Fashion Album, and Couture Techniques, in case you want to try this at home...


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Pistorius is granted $112K bail in killingBy LYDIA POLGREEN
and ALAN COWELL
The NEW YORK TIMES | February 23,2013AP FILE Photo
South Africas Oscar Pistorius was released on bail Friday.PRETORIA, South Africa After four days of combative hearings, a South African magistrate Friday granted bail for Oscar Pistorius, the double amputee track star accused of murdering his girlfriend, in a case that has horrified and fascinated the nation and much of the world.
Magistrate Desmond Nair announced the decision after impassioned final arguments from the defense and the prosecution in Courtroom C of the Pretoria Magistrates Court.
The prosecution claims that Pistorius gunned down his girlfriend, Reeva Steenkamp, 29, a model and law school graduate, on Feb. 14 after she locked herself in a small bathroom in his sprawling home in a gated complex here. Pistorius, 26, says he mistook Steenkamp for a burglar, and expressed deep anguish at her death.
The prosecution had argued that Pistorius should not get bail because he could flee the country and had a history of violence. But Nair rejected these arguments, saying he did not represent a flight risk and was not likely to interfere with state witnesses.
The accused has made a case to be released on bail, he said, while the prosecution had not established a case for detaining him.
Pistorius family members in the packed courtroom shouted, Yes!
Nair set bail at 1 million rand (about $112,000), an unusually high amount for a murder trial in South Africa, and ordered a series of conditions before the case was adjourned to June 4. Pistorius was told to relinquish firearms and passports and to avoid his home, which is now declared a crime scene.
Pistorius was also told that he could not make contact with witnesses, leave the Pretoria area without official permission or use drugs or alcohol while the trial is pending. He was instructed to report to a police station twice a week.
Arnold Pistorius, an uncle who has acted as a family spokesman, told reporters: We are relieved by the fact that Oscar got bail today, but at the same time, we are in mourning for Reeva Steenkamp and her family.
But Kim Myers, a friend of Steenkamp, said: I think it is important to remember that someone lost their life. We trust and hope that justice will prevail.
Before announcing his ruling, the magistrate recounted the four days of conflicting arguments by defense and prosecution lawyers.
Nair sharply questioned Pistorius account of what happened the night Steenkamp died, asking why he had fired into the bathroom door without asking who was there, why he had not seen that Steenkamp was not in the bed beside him when he arose to check out a strange noise, and why he had not fled rather than confront an intruder. These questions are likely to be central to the murder trial.
However, Nair also took particular issue with the testimony and actions of the prosecutions lead investigator, Detective Warrant Officer Hilton Botha, who has since been removed from the case, saying the officer made several errors and concessions and blundered in gathering evidence.
It is his evidence that may have been tarnished by cross-examination, not the state case, he said.
The sprinter was born without fibula bones and underwent double amputation as an infant, and now uses prosthetic legs. His lawyer, Barry Roux, said Friday that if he were prosecuting the case, the charge would be culpable homicide a less serious charge implying either negligence or a lack of intention to kill.
With his head bowed and his jaw clenched as he entered the court Friday in advance of the bail ruling, Pistorius appeared to be struggling to hold back tears, as the prosecutor, Gerrie Nel, described Steenkamps plight Feb. 14.
I am not saying the planning of the murder of Reeva Steenkamp happened weeks ahead, days ahead, Nel said. I am saying the planning to kill Reeva Steenkamp happened that night.
During a morning session before the bail ruling, Nair seemed skeptical about the risk that Pistorius would flee.
What kind of life would he lead, a person who has to use prostheses, if he has to flee and found himself ducking and diving every day on artificial limbs, the magistrate asked.
A life not in prison, Nel replied, comparing Pistorius to the WikiLeaks founder Julian Assange, who has taken refuge in the Ecuadorean Embassy in London, despite his famous face.
Piling on emotional pressure Friday, Nel linked the death of Steenkamp to other violence against women in South Africa, including the case of Anene Booysen, a 17-year-old who was raped and murdered in the Cape region this month.
The degree of violence present in this case is horrific, Nel said.
The athletes longtime coach, Ampie Louw, told reporters Friday that he was considering putting the athlete back in training to get his mind clear.
Pistorius has canceled planned track appearances and several corporate sponsors, including Nike on Thursday, have distanced themselves from him.
The sooner he can start working, the better, Louw said.
In an aside to the case, the South Africa edition of Heat, a celebrity gossip magazine, on Friday published what it said was Steenkamps last interview, a week before her death, in which she said the couple had not been discussing their relationship in the media because I dont want to get it tainted.
I dont want anything coming in the way of his career, she said, according to an advance excerpt from the interview. Hes such an amazing athlete.
You know what they do, they make things up, Reeva cheats on Oscar, and rubbish like that. I wouldnt want lies about us jeopardizing it.MORE IN Wire SportsBOSTON The Boston Bruins have some lineup questions entering training camp after a... Full StoryFOXBOROUGH Darrelle Revis didnt divulge much when asked about his preference for facing a... Full StorySome victories can be a sign that a program that has hit hard times could be heading for better... Full Story
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With its mix of sea, olive groves, and flowers, Imperia --capital of the Riviera dei Fiori--is home to Felice Cascione Indoor Pool, a place where national and international aquatic events are held. Checking out the marina and going for a dip at the nearby Golden Beach is a must in Imperia. History fans appreciate a visit of the old districts of Oneglia and Porto Maurizio.
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text:
The Bursar's Office is comprised of the Student Accounting, Cashiers Department, collections of outstanding receivables and the management and collections of the Federal Perkins Loan Program.
Mission Statement:
The mission of the Bursar's Office is to provide friendly, courteous, and professional service to the department, to students, faculty, staff and others associated with the University. This service includes, but is not limited to, financial counseling in the collection and disbursement of funds for students, employees and external agencies.


text:
Full size version is only available to registered users
Please Register as a New User or Login as Existing User to gain full access to all the photos on this site. Registration is quick and completely free.
Unregistered users can only view full size photos that have been added this month.
Fine English Ice - Kinder Downfall
Dan Arkle, Jan 2013
© Gareth


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The Bar at Bank & Bourbon
Bank & Bourbon offers a menu based on traditional American fare with a modern twist. With an equal focus on American classics, the bar features a bourbon barrel-aging program for unique house-aged cocktails and liquors, as well as a curated list of craft beers and exceptional wines. Our in-house Bourbon Master will host special tastings, classes and events throughout the year.
Bank & Bourbon also features a locker program so that bourbon, whiskey and rye enthusiasts can keep their favorites on-site or age their own spirit.
Visit Bank & Bourbon's website.
The Lounge
The Lobby Lounge offers comfortable conversation areas with chic sofas and chairs. The ideal place to gather or to work, the Lobby Lounge has library tables equipped with outlets for your laptop or smartphone. It's also a great place to grab a drink or a small bite.


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Megadeth – Super Collider (Deluxe Edition)-2013
Description: Megadeths new studio album is Super Collider.
For a heavy metal band thats been around for nearly three decades, selling more than 38 million albums worldwide, earning numerous accolades including 11 Grammy® nominations, scoring five consecutive platinum albums including 1992 s two-million-selling Countdown to Extinction Megadeth s founder, leader and primal guitar-slinger and lyricist Dave Mustaine feels the best is yet to come.
With a newfound energy with the band, Mustaine is raring to go. Shawn (Drover drums), Chris (Broderick guitar) and David (Ellefson bass) have all been feverishly contributing some great music and I believe we are doing our best work ever together in the studio right now!
[Notes]: European deluxe edition includes 2 bonus tracks.
Track List:
01. Kingmaker
02. Super Collider
03. Burn!
04. Built for War
05. Off the Edge
06. Dance in the Rain
07. Beginning of Sorrow
08. The Blackest Crow
09. Forget to Remember
10. Don't Turn Your Back…
11. Cold Sweat (Thin Lizzy cover)
12. All I Want (Bonus Track)
13. A House Divided (Bonus Track)
Release Name: Megadeth-Super_Collider_(Deluxe_Edition)-2013
Genre: Metal
Label: Universal Music Enterprises
Quality: 320 Kbps Avg / 44.1 KHz / Joint Stereo
Size: 120.8 MB
Rip Date: 2013-05-31
Store Date: 2013-05-31
Links: NTI – TPB
Download: UPLOADED.net


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Bald Mountain Climber's Log
[ Sign the Climber's Log ]
|limited view
Date Climbed: Oct 10, 2013
|I was in the cloud deck, alternated between rain and snow. Couldn't see more than 100 meters in any direction. Met only a pair of bow hunters. I'll return another day for the views.
5 November 2013: a repeat with better clarity & views. passing snow flurries alternating with sunshine. 3 moose easily spotted - they stand out well in snowy leafless aspen forest. No other humans, tracks or otherwise.
|Posted Oct 10, 2013 5:37 pm
|Same as ZeeJay's info
Date Climbed: May 2, 2012
|If you like undulations in your hikes, this is one for you! Thanks to ZeeJay for showing me a new section of the Wasatch Range.
|Posted May 2, 2012 9:00 pm
|Nice spring hike
Date Climbed: May 2, 2012
|With Moogie737 from Big Mountain Pass. There were a few lingering snow patches but most of the trail was clear. We also bushwhacked to P7824 near the start and went 3 miles past Bald Mountain to P7779 and then returned back to the pass.
|Posted May 2, 2012 7:03 pm
|From Big Mtn pass
Date Climbed: Jul 31, 2011
|Nice hike and met no one going but ran into a SLC hiking group of 15 people on the way back and three mountain bikers. Big tree down across the trail that had to be scrambled over (crux of the hike) :-)
|Posted Nov 18, 2011 5:43 am
|From Big Mountain Pass
Date Climbed: Jun 6, 2010
|With a friend from out of town. Trip pics at http://www.willhiteweb.com/salt_lake_city/bald_mountain/hiking_115.htm
|Posted Nov 17, 2011 9:23 pm
|Bald Mountain
Date Climbed: Oct 16, 2011
|From Big Mountain Pass. This was a nice hike to see the fall colors.
|Posted Nov 17, 2011 4:24 am


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Reading Africa: Readers, Libraries and African Publishing
As part of the Reading Africa programme,
the Southern African Book Development Education Trust (SABDET) together
with the Oxford International Centre for Publishing Studies (OICPS)
held a day conference at Oxford Brookes University on the 30th October
2004. Reading Africa is a nationwide initiative by SABDET to raise awareness
in the United Kingdom of African writing and publishing and to promote
reading of African books. A promotional campaign aimed at librarians
and reading groups and designed to encourage public library users to
read African writers is a central part of the programme.
The meeting brought together under
one roof distinguished African writers and publishers, and representatives
of organisations promoting the initiative in this country. Its purpose
was to take stock - Reading Africa in Africa, Reading Africa elsewhere
- in an attempt to bring together and highlight the various strands
by means of presentation and discussion from different perspectives,
those of the publisher, writer, translator and librarian. What ensued
was a provocative and lively debate of the issues.
The conference was organised with the following programme:
10.00am Registration and Coffee
10.30am Introduction: Tony Olden
Address Veronique
11.00am Session – Chair: Kelvin Smith (OICPS)
Reading Africa:
Reader Development Andrew Lowing (Essex CC Library
Reading Africa: Readers and
Libraries in Africa Tony
Olden (TVU)
Reading Africa: Impact for African
Publishers Mary
Jay (ABC)
12.30pm Lunch
1.30pm Session – Chair: Sue Pandit (OICPS)
Publishing African Literature
- panel
Dayo Alabi (The Book Company, Lagos/ABC
Walter Bgoya (Mkuki na Nyota Publishers, Dar/ABC council)
Henry Chakava (East African Educational Publishers,
Nairobi/ABC council)
Akoss Ofori-Mensah (Sub-Saharan Publishers, Accra/ABC
2.40pm Short break
2.50pm Session – Chair: Mpalive Msiska (Birkbeck)
and Translating African Literature
Veronique Tadjo
Wangui wa Goro
Chege Githiora (SOAS)
4.00pm Tea or Coffee
4.15pm Session – Chair: Paul Westlake (SABDET)
Reading Africa partnerships
Iqbal (British Council)
Priscilla Baily (Derbyshire CC Library Service)
5.00pm Summary
and the future
5.30pm Conference close and Reception
This report of the proceedings, written
by Pru Watts-Russell as Rapporteur who has, where possible, consulted
the participants on the final text, has been organised thematically.
Brief biographical notes on all the participants are included at the
end of the report.
Keynote Address: Véronique Tadjo
The tone of the meeting was set by
Véronique Tadjo. When reflecting on the conference theme, she
said she had been mindful of the fact that the United Nations had proclaimed
2003-2012 the Literacy Decade. Posing the question: Why so
much emphasis on literacy? Her answer: Because it is considered the
bedrock of education and education is a fundamental human right.
Whilst speech helps us to communicate,
reading and writing play an essential role in the development of humankind,
impacting on social, political, economic development of nations. Books
contribute to the transmission of knowledge, a knowledge which is intellectual,
emotional and practical. There are books for all ages and all times
in an extraordinary variety of genres and they remain the most accessible
and cheapest means of communication around. Literacy provides the means
of raising standards of living, is crucial to the capacity building
process and acts as a social leveler.
The reversal in gender discrimination
in Africa has been attributed to the increase in literacy. The emergence
of women writers on the literary scene reflected this trend, taking
a generation (from the 60's that mark independence and the opening
of girls' schools to the 80's) for access to education to
produce more women writers.
There is evidence too that where people
are better educated, they have better health (i.e. are less likely to
have HIV/AIDS), greater political awareness, a greater understanding
of their rights and an increased ability to grasp concepts. That is
to say literacy has a qualitative impact on democracy and citizenship.
Language literacy is indeed the key to other forms of high-profile literacy
such as computer and maths literacy. Better literacy means that the
learner's performance in all other learning areas improves dramatically.
However, literacy for all is not everything.
It will not produce utopia. Highly educated people have been responsible
for atrocities, Rwanda being a case in point. Although here perhaps
it might be argued their destructive influence over masses might have
been less had the masses been more literate. Democracy is a state of
mind, a way of looking at the world. It is not necessarily linked with
education. This is where literature has such a big role to play. The
hope is not just for literacy but for a continent of readers. Africans
should enjoy literature and seek the company of books!
She argued that it is not true to
say that there is no culture of reading in Africa. When given the chance
Africans are avid readers. Bookshops and libraries are often visited
and books fairs opened to the public are generally well attended. In
spite of the high prices of books, most parents are ready to make sacrifices
for their children. Books are seen as objects of value. A book is not
read by just one but by many, passed around between friends and relatives.
Meeting needs and satiating demand requires innovative approaches by
all concerned. Booksellers, publishers, librarians all have a duty to
get books to potential readers. Novel means of increasing their availability,
such as kiosks, markets, food outlets, should be fully explored. In
Côte d'Ivoire, for instance, books are sold on the pavement
by street vendors at traffic lights in the same way as they hawk sunglasses,
boxes of tissues and watches; thrusting books into cars even her own.
Responsibility for creating a population
of readers should not rest with private enterprise or donors alone however;
a greater involvement is called for by the state. Bigger budgets, improved
libraries in schools colleges and universities, and public libraries,
should be seen as an investment in future. Classroom libraries hold
the key to developing a true readership. Conventional bookshops too
have a role to play. Unfortunately, African bookshops hit by the global
economic crisis are in decline. The devaluation of the CFA franc in
French speaking Africa, for example, and political unrest have all had
an effect. Regardless of economic constraints, they should nevertheless
be geared more to meeting the needs of the young who comprise over 50%
of the population in the developing world. The awareness of books for
pleasure should be inculcated at early age, to fire the imagination
and to entertain; to counterbalance the tendency for books to be associated
only with academic learning. Even if not all writing is progressive
or thought provoking, it is generally accepted that literature broadens
the mind and offers a vision of the life that is diverse and enriching.
Virtually any subject under the sun has been dealt with in books. Readers
can dream, learn, trigger their imagination, and keep themselves entertained.
Children who like reading will never get bored.
The future of African literature as
a whole is in the hands of African readers. They are the ones who are
going to support it and give it its weight. African literature, if it
is to find its way on the bookshelves of the West, paradoxically, must
first be put on the bookshelves of Africa.
The relationship between African publishers
and African authors should be one of real collaboration and equal partnership
and respect. At the moment, it is still not rare to find writers who
have not been paid their royalties, whose manuscripts have been mislaid
or whose works have been published without their final go ahead. If
the trend continues, Africa will lose a lot of talent to foreign publishers.
African writers
have a new commitment to fulfil: to produce a literature anchored in
African tradition while at the same time dealing with the paradoxes
and challenges of the times. A literature that bridges the tensions
wrought by religious, tribal, social, ideological, or political extremism
and celebrates diversity. In Africa, "Art (and literature by extension)
is and always was at the service of man" Chinua Achebe reminds
us before adding, "Our ancestors created their myths and told
their stories for a human purpose. For this reason, any good story,
any good novel should have a message, should have a purpose. It is the
duty and the challenge of the African writer to continue telling the
multifaceted story of Africa as it unfolds." How better to
conclude than with one of her poems which says it all:
I write for the child
That I was
For the men and women
That our children will become
Come play with me
Under the flowering mango tree
My book in my lap
We shall read, travel and dream
I write for memory
I write for the future
To change the world
To comfort myself
For not having been able to change
I knock at the door
Of your heart
Open up!
We will talk, laugh and learn
Who am I?
I am the griot of modern times
Who revisit the trodden path
And the heroic deeds of our ancestors,
The storyteller-poet who points to
The dawning horizon
And the winding road between the
Of our great capitals
I write
To give a book to every child
So that he can recognize himself
In this village which is the world
I read to conquer my lost Kingdom,
Childhhod with its peals of laughter
I read to stretch out my hand
To live in the world.
Towards an unknown reality
To cross the bridge separating me
From others
I read to escape
To plant myself firmly in the ground
To find the answers to my questions
I draw to create
Thw spoken word
The melody of gestures and songs
The rhythm of drumbeats
I draw to recover
The fleeting moment
The furtive memory
I draw to travel back
To the garden of before
When there was no age
No language barrier
No frontier wall
I write, I read, and I draw
Back to programme
Africa: Reader development
Andrew Lowing (Senior Development Officer Essex CC Library
Andrew Lowing: provided
an insight into the British experience of African writing promotion
as operating in an English county library service, and in particular
the reader development function aspect within the context of Reading
Africa. Essex in comparison to many other counties has a low distribution
of ethnic communities. Because of this a decision was made to centre
Reading Africa initially in the two towns where the ethnic population/community
in Essex is most highly concentrated i.e. Basildon, where the books
have been on prominent display adjacent to a recently revamped area,
and Harlow. Essex has led the way in reading groups. These now total
270 in its 72 libraries, every library having at least one group, with
the two selected towns sharing 13 between them. The response to the
initiative, where the challenge has been to get people to read books
not heard of, read about places and people with which they are unfamiliar
and inspire readers to read something which is a bit different, has
been positive.
Among the titles the Basildon book group Shelf Life has discussed are
Helon Habila's Waiting for an Angel and Véronique Tadjo's
As the Crow Flies. An interview with Véronique was carried in
the latest issue of the library services quarterly magazine Booktalk
and, in the course of the coming week, both she and Wangui wa Goro are
to take part in a Reading Africa 'Writers in Conversation'
evening to be held in the Basildon library. Details of its reading groups
and suggested reading are to be found on the library's award winning
The library is especially keen to
work with the Afro Centre, a local organisation, where efforts have
been made to set up a reading group. It has met a few times but not
yet on a regular basis. Enthusiasm will be vital for its success. The
Essex Literary Festival has been running annually since 2000. Fifty-seven
writers and poets participated this year and Ben Okri is among those
who are expected to take part in March 2005.
to programme
Reading Africa: Readers and Libraries in Africa
Tony Olden (Senior Lecturer, Library and Information Management,
Thames Valley University)
Tony Olden: The majority
of public libraries in Africa now charge membership fees and may not
therefore in the UK/American sense strictly speaking be regarded as
'public' libraries. Most library services ie Ghana, Kenya,
Tanzania, Uganda, Zambia were established on a national, rather than
local basis in the 1950's and 1960's, Nigeria being the
exception. Even today getting books beyond the urban areas remains a
perennial problem.
Chakava: Library
Boards were a mistake. Library systems would have done better were they
to have evolved from community needs. Today often book weeks or national
book tents play a more important role than libraries.
Tony Olden: Conditions
of employment are often unattractive (on a recent visit to Zambia he
had found that library staff had not received their pay for three months)
and difficulty in recruiting and retaining staff persist. Traditional
sources of funding have been limited. New solutions are being sought.
Tanzanian Library Service (TLS), for example, has in recent years joined
forces with private enterprise. This company has used its funds to renovate
the TLS headquarters, a building that had become very run down, increased
it by two floors and is renting out the extra space as offices. In due
course the whole building will revert back to TLS.
Still many public libraries have few
African books on their shelves. What, he asked, might be done about
African Books in African Libraries:
Solutions offered from the floor
Alabi:The Nigerian
government is addressing the situation with a new initiative, the Education
Tax Fund (ETF). Every limited liability company in Nigeria pays 2% of
annual turnover as a special education tax to ETF. ETF then uses the
money from this fund to intervene in various aspects of the education,
some of which is finding its way into the 18 Federal Government libraries
in 18 out of the 36 states, Federal and State Universities, polytechnic
and college libraries. Although the Nigerian situation is unique, the
scheme has the potential for adoption elsewhere.
Terence Ranger: Weaver
Press in Zimbabwe is being subsidised to the tune of £5 per book
in return for which a quarter of each print run is presented to libraries.
Sara Harrity: Under
Book Aid International (BAI)'s Reverse Book Club Scheme a £5
donation each month pays for four books to reach readers in the developing
world. Its Local Book Purchase Scheme also enables books in local languages
to reach the shelves of rural community libraries.
Mary Jay: The Intra-African
Book Support Scheme (IABSS) has been a unique book donation project,
developed both to provide a wide range of African libraries and institutions
with African published book - mainly fiction and children's books,
and to support African publishing.
Tony Olden: Continuing
his presentation he said he wished to highlight, it being of particular
concern to him at the moment, the dire state of libraries and publishing
in Somalia. Visits that he had made to that country under auspices of
Africa Education Trust (AET) had revealed the country, due to the civil
war, to have very little in the way of libraries apart (from those in
the 2 new universities) and little published in the Somali language.
Whilst AET is itself publishing a number of primers for basic literacy
aimed at young people in schools and illiterate adults in the Somali
language and is in the process of setting up a number of reading rooms,
much remains to be done. Less than 20% of children get any education.
How can the people of Somalia benefit from developments elsewhere. Are
there lessons to be learnt from the publishing and library communities
in East Africa? Advice, perhaps from publishers on indigenous language
publishing, and feedback from librarians on use of reading rooms set
up in the region in the early days of their own library development
would be welcome.
Reading Africa: Impact for
African publishers
Mary Jay (African Books Collective)
Mary Jay: equated
the role of African Books Collective (ABC) with that of the ABC publishers'
marketing department. It was in this capacity she was now speaking,
allied with the ABC institutional interest. The ABC perspective in promoting
the reading of African literature was to promote books published in
Africa, emanating from African culture. It was that literature ABC was
supporting. She said that the promotion of African literary writing
in conjunction with public libraries was a splendid idea. However, more
generally, a weak market for African books and library budget cuts between
them impacted on the success of selling African literature.
African literature was a very wide
term. Was it African literature or individual countries' literature?
There were also issues about what constitutes a novel. European perceptions
of what is a "novel" were based, in the UK, on the English
19th century novel; whereas African novels originated from a very different
provenance – they were from within the African culture, and tended
to carry an overt message. This militated against easy access for non-African
readers. Why African literature is not widely read in the mainstream
was a fundamental issue and one which needed to be addressed.
ABC was seeking to "brand"
its product, to gain access to the mainstream. Talking about the UK
market, this was far from easy, but there were a number of factors which
helped branding, which was necessary for distribution rather than for
co-publications. For example The Da Vinci Code had apparently
sold very little in the UK when it was distributed by its US publisher;
but when it went into co-publication, it hit the bestseller lists. There
was no doubt that, currently, novels will largely only sell well if
they have a British publisher.
Ken Saro Wiwa's Forest of
Flowers was on the ABC list for a long time, was widely promoted,
and cited in The Commonwealth Writers' Prize, and yet did not
sell particularly well. The author then sold the rights to Longmans,
and they launched it as a new title, attracting great interest and reviews
in the mainstream press (perhaps aided in part by the fact that it coincided
with Saro Wiwa's imprisonment and subsequent execution).
Chimamanda Adichie's Purple
Hibiscus, published by Viking/Fourth Estate, had received widespread
recognition through being shortlisted for The Orange Prize (for women's
writing). The book was subsequently on the longlist of the Booker Prize,
and the author was interviewed on a mainstream BBC television news programme.
The combination of a British publisher and recognition through the prizes
had got the novel into the mainstream.
Earlier in 2004, ABC had sponsored
a tour by the Ghanaian writer, Amma Darko, including an event where
she was a speaker at the Oxford Literary Festival, for which Blackwells
Bookshop handled book sales. It was very difficult, indeed well nigh
impossible, in normal circumstances to get African-published novels
into mainstream bookshops. However, following the Festival, Amma Darko's
new novel, published in Ghana, was displayed face out in the main literature
section at Blackwells – a first for an ABC novel. So although
this novel did not have a British publisher, nor had it received prize
recognition, it did have the distinguishing extra feature of having
been promoted at a UK literary festival.
An African-published novel is generally
in need of some extra push to lift it above low sales; and recognition
by major Awards was one key.
Whilst welcoming the SABDET Reading
Africa programme as a building block initiative, ABC would have liked
to see more works selected which were published in Africa, and more
African publishers benefiting: only four of the 30 titles promoted were
published in Africa. ABC had of course bid for all 30! The titles selected
were from Kenya (2) and Zimbabwe (2). Since two of these titles were
out of stock in Africa, ABC had made them available by print-on-demand.
It was estimated that, broadly speaking, sales for the four titles had
increased by between three and five fold through the Reading Africa
Africa's 100 Best Books list
and the Reading Africa initiative contributed to this necessary raising
of the profile of African literature as an integral part of world literature
– as much South African literature was already so considered.
They were promoting writing, not publishing in Africa as such, but the
two were links in the same struggle. Analysis of the list showed that
of the 100 titles, 65 were published outside Africa; and of the remaining
35, 11 had been published in South Africa, and 5 in Nigeria. Of the
authors, 83 were men, and only 17 women; and 88 of the 100 titles were
in the European languages.
Bgoya: He admitted
that he was not a fan of the 100 Best Books perceiving it to be full
of serious contradictions, highlighted by the fact that the majority
were published out of Africa and were not in African languages.
wa Goro: Whilst she
agreed the I00 Best Books list is contentious and the selection process
had been flawed, she like other members of the jury collectively felt
that the idea in principle had been good and should be seen as start
to and not the end of the debate.
Ranger: Indeed Zimbabwe
has since launched Zimbabwe's Best Books in 2003 and has initiated
Africa's 50 Best Female Authors project, the results of which
are to be announced during ZIBF 2005.
Melanie Abrahams
(Renaissance One): Although the Reading Africa list also has its weaknesses,
its value as a marketing tools and starting point should likewise be
James Currey: He
said that even in the later days the Heinemann AWS titles continued
to attract good sales and Lis Burch (Harcourt Educational
International) confirmed this trend continues today under the current
Ranger: It is possible
for an African writer to have a bestseller. For example, Nervous
Conditions by Tsitsi Dangarembga had sold over 40,000 copies in
the USA and was among the best novels of 20th century.
Tadjo: Many people's
perception of Africa is negative due to the media, this leads to the
marginalisation of the continent.
African Publishers Take on
African Literature – Panel Discussion
Walter Bgoya (Mkuki na Nyota, Dar es Salaam), Dayo Alabi
(The Book Company, Lagos), Henry Chakava (East African Publishing House,
Nairobi) and Akoss Ofori-Mensah (Sub-Saharan Publishers, Accra)
Dayo Alabi: Nigerian
literature is based on heritage, culture and tradition wherever it is
written; be it in or out of the country. Earlier writers reacted against
white colonialism. They only had their works published on the whim of
publishers. It has been said that literature in Africa is on the decline;
this being due to such factors as: dwindling interest in reading, lack
of indigenous languages material, poor quality of writing, difficulty
in getting manuscripts accepted. Books written by Nigerian and other
African authors elsewhere are often not available in Africa. Efforts
to rectify these trends are already being taken and must continue. A
conducive environment must be nurtured. Young writers should be encouraged
by such means as annual writing competitions for children and awards
possibly 'Best Book of the Year' initiated.
Akoss Ofori-Mensah:
African literature is not something that has been given much prominence
in world; even in African schools and other institutions the emphasis
for a long time had been on European literature. In the early days there
was no recognition that education systems should emphasise their own
culture; nor was it generally appreciated what African literature was
all about. A view reinforced by the experience of fellow publishers.
Henry Chakava: When
he started reading, he read English books, was taught by English teachers,
and was given English books to read (including the classics) through
all stages of his education right up to and including university level.
Akoss Ofori-Mensah:
Only with the advent of Chinua Achebe Things Fall Apart and the writings
of many other African authors in the Heinemann African Writers Series
(AWS) did this change. It was only then that African literature found
its way not only into the literature curriculum of African universities
but was also accepted into mainstream literature and the forums of higher
education elsewhere. African writers have often not been interested
in publishing locally, feeling it to be more acceptable and that they
would achieve greater recognition by publishing in the west. African
countries have not always valued their own literature as much as they
ought or promoted it across borders.
Henry Chakava: When
working with Heinemann in Nairobi he had received manuscripts for inclusion
in AWS. The books, although published in the UK were written for Africans,
and widely read by them. On occasion manuscripts were submitted which
he felt to have value but Heinemann chose not publish. This encouraged
him along with another publisher, Bob Malcolm, to start up the Tinga
Tinga Press which took on such titles albeit not in commercial quantities.
Ever since his overriding philosophy, he said has been to concentrate
on the home market first and foremost. Publishing for external markets
has not taken high priority. His aim has been to publish for his own
people, publish what they want to read; and then and only then to consider
widening his titles' acceptability, increasing the target audience
and to look to ways to promote outside the national boundary ie selling
rights, translations, co-editions. The manufacture of books has been
a weak point of African publishing. Working in partnership with others
is a means off addressing this. For those considering starting in publishing
he recommended starting with children's books and story lines.
Once a publisher has earned a good name and reputation then its books
are likely to sell.
Dayo Alabi: African
publishing has suffered from a negative image: poor production quality,
paucity of editing, lack of resources, publishers' unwillingness
to take risks. These issues are all now being addressed. A more professional
approach is being adopted. There is a general consensus that the quality
of books is improving and that they are now being produced to western
standards. Marketing until recently did not receive as much attention
as it ought; the right targeting, infrastructure, high costs involved
all being factors. Although more effort is still required in this direction,
publishers are now becoming increasingly aware of its importance and
recent years have seen a substantial improvement. It is now not uncommon
for publishers to produce catalogues of their lists.
Walter Bgoya: Definition
of African literature: that whose content reflects African problems
and issues, and which defines African reality. What qualifies? Not all
literature coming out of Africa could lay claim to reflect that reality,
notably authors such as J M Coetzee. He argued that language should
not be an issue. He took a pragmatic view. Writers should just write.
If it was any good it did not matter what language it was in. He encouraged
potential authors in Tanzania whose English was poor to write in Swahili,
since it allowed them to grapple with issues in a real way.
Publishing is a new industry in Africa.
The time has come to build upon lessons learned and develop new good
practices. Although his company is one of the founding members of the
African Books Collective, it should not be necessary for publishers
to kowtow to British/American sensibilities or be dependent on them
for their survival. They should defend their integrity. Books should
be looked at on their merits, not borne on the back of neo-colonial
publishing, only considered acceptable when published in the UK. The
ABC initiative which allows books, particularly the more expensive titles
to be printed on demand, saving on print runs and freight costs is a
welcome development.
African publishers
views on:
Reading Africa
Chakava: He agreed
that it was a good idea but felt it should not be forced.
Alabi: It should complement other activities already
being done in the UK to promote African literature eg the ABC's
promotional activities, the inclusion of African literature in literature
courses, and other efforts to put African books in British libraries.
Bgoya: If British organisations want others to read
African literature, how they do this is their problem to solve.
No discussions on African literature
can escape or would be complete without some controversial debate over
language. In which language should African children be taught and therefore
read ie English versus indigenous languages. The views proffered at
this meeting were no less ambivalent.
Tadjo: Language is
an issue. The controversy as to what should be the medium of instruction
in schools mother tongue or English; and if the former what exactly
is the mother tongue. In South Africa it government policy for children
to be schooled in their first language (of which there are 11 national
languages) at primary level. This often goes against the wishes of the
parents who would prefer English to be the medium of instruction, fearing
their children will otherwise be at a disadvantage in later years. Perhaps
the route to take is multilingualism from the start. Writers prefer
not to get involved, their idealism being tempered with pragmatism.
Chakava:The language
issue could be debated endlessly. Proper policies need to be put in
place. In Kenya lessons are taught in the indigenous language for 3
years, whilst pupils are taught English, then a switch is made. Literature
does not exist in other languages; and the prestige of learning foreign
languages needs to be acknowledged as a problem.
Bgoya: Many literate
Africans are caused harm by being convinced foreign languages are valuable,
local not. They are forced to think own language to be worthless; and
look to adopt what cannot be afforded. The fact that there is nobody
to teach English in Tanzanian primary schools has given rise to problems
right through secondary to tertiary level. It is a matter of the ruling
classes imposing on the masses. The crisis goes on. Teachers are teaching
in Swahili when exams have to be written in English giving rise to alienation
of education.
Writing and Translating African Literature
Véronique Tadjo (Writer), Wangui wa Goro (Writer
and Translator) & Chege Githiora (Writer, Linguist, and Lecturer
at SOAS)
Véronique Tadjo:
Her experience as a translator has been brief. A lecturer in translation
in the English Department of the University of Abidjan, she had following
a stay in Nigeria translated Elechi Amadi's The Great Ponds into
French and then ten South African children books for distribution in
Côte d'Ivoire and elsewhere in French speaking Africa. Her
experience as a writer on the other hand has been more extensive. Her
books have been translated into many other languages from English to
Somali This indeed has included working with Wangui wa Goro on the translation
of As the Crow flies, a positive collaboration which strengthened their
friendship. Giving life to another book in this manner can be both wonderful
and a nerve wracking emotion from the writer's point of view.
This is especially true if the title is being translated into an unfamiliar
language as there is no way of checking how accurate that translation
is. Sometimes it is necessary for authors to translate their own work
(Ngugi Gikuyu/ English) but this not often done.
Wangui wa Goro: It
was a privilege to be at the conference in the presence of Henry Chakava
(recently a recipient of the Life award to African publishing at the
Zimbabwe International Book Fair), her mentor. It was to him whom she
owed her career when he introduced her to the world of translating by
commissioning her to translate Ngugi wa Thiongo's Njamba Nene
Series (EAEP) from Gikuyu, her mother tongue into English. She originally
trained in European languages (French and Italian). Translation is not
an innocent exercise. Complex issues are involved. The translator is
responsible for delivering an authentic voice, needing to accurately
interpret and respect the integrity of translation. There is an onus
not to misrepresent but the nuances are not always clear. The process
requires mediation and negotiation. The standing of translators is not
held in high regard and this lack of status has implications for African
literature. Very few texts have been translated from Swahili into English
or are known to world. She translates, not to make a living, but for
the love of it. African Studies is a young area of scholarship.
Chege Githiora: There
are now about 60 million speakers of Swahili, a language that is widely
recognised as the lingua franca for east and central Africa. Yet in
the broader context much remains to be done. For example, very few books
of the large existing body of Swahili literature have been translated
into English or other major world languages. Much of Swahili literature
therefore is unavailable to non-Swahili speakers, with a possible exception
of the works of Shabaan bin Robert. Consequently both the promotion
of reading in Swahili and their translation into other languages should
be taken more seriously. As part of that effort he has authored and
published the first ever Diccionario Swahili-Espanol which is aimed
at making a linguistic bridge between two major world languages that
are culturally and linguistically close with respect to Africa and Latin
America. He has also translated and published some of Shaaban bin Robert's
poetry into Spanish
The emphasis within the educational
systems of most African countries on English (or French or Portuguese)
creates a negative context with many negative results for African languages.
Many Africans living in these formerly colonised states are, practically
speaking, functionally illiterate in their own languages. This is because
they have poor knowledge of the structure of their own languages and
this limits their comprehension of its written form. So although many
remain proficient native speakers, they experience major difficulties
reading and writing in their mother tongue, and many eventually give
up. This is in part a result of insufficient and systematic teaching
of those languages at every stage of their education. In the current
language situation, he claimed, our languages are denied social prestige
in the face of dominant European languages which are par excellence
the vehicles of upward social mobility. This contributes to a state
of 'psychic disbelief' in the abilities and possibilities
offered by the African languages.
He gave an example of a recent workshop
on 'Gikuyu Orthography' held at SOAS, where three full days
were spent discussing (in Gikuyu) a number of innovations and orthographic
issues, a reflection of the complexity of issues facing this and many
other African languages. During that workshop, Ngugi described language
as a way people have not only of describing the world, but of understanding
themselves. This is why he now chooses to write in his first language,
Gikuyu. In so doing he ensures that the language is being constantly
revaluated whilst at the same time fosters both translation and a reading
Dr Githiora noted that a great number
of African languages are tonal. This is only one of the many facts of
which we should be aware about these languages and what happens when
the spoken word is transferred to paper where tone patterns which affect
word meaning, stress and intonation patterns are not represented. But
this does not by any means imply that African languages should be relegated
to oral expression alone. Their unique attributes can be captured in
other ways such as through innovative and standardised orthographies.
Nor do these facts about our languages devalue the need for African
language books. In fact these ought to be complementary, so for example,
reading in Africa can be reinforced by this oral culture through the
use of the radio. Audio media have been greatly amplified in recent
times in Africa with culture, literature, and other genres writing all
being widely broadcast to the people.
What of coeditions as a means, like translations,
of extending the market?
Tadjo: Coeditions
can work. However, whilst the price should be set in the West at what
the market can sustain, in Africa books need to be affordable.
Ofori-Mensah: She
has successfully published books with South Africa in the past and is
now working with UNESCO in Windhoek on an illustrated children's
Chakava: It only
works when two parties exploit the market better than one
e.g. when in partnership with publishers such as James Currey.
Janet Nyeko (JanYEKO
Publishing): She successfully published The ABC of Book Publishing:
a Training Manual for NGOs in Africa with CTA, thus assuring its high
Reading Africa: Partnerships
Javed Iqbal (Regional Information Coordinator Sub-Saharan Africa, British
Iqbal: outlined the British Council's position and its
commitment to reading centred activities, the stress as with other areas
of its work being on mutuality. Africa @21 is just one of many
creative reading projects in which the British Council is involved globally.
The scheme consists of two components: Out of Africa which
focuses on UK writing with a strong African connection and Reading
Africa (the SABDET initiative) where the emphasis is on promoting
African writing in the UK. Working together it is the intention of the
key UK and African stakeholder organisations that readers in both the
UK and in Africa should by sharing a common reading experience achieve
a greater understanding and insight into each others' cultural perspectives.
Using British Council libraries as intermediaries Africa @21 links libraries
in six Africa countries (Malawi, Namibia, Nigeria, Sierra Leone, South
Africa, Zimbabwe), with six library authorities in the UK (Birmingham
City, Derbyshire County, Essex County, Glasgow City, London Borough
of Lambeth, Blackburn Council).
Although dependent on local circumstances,
reader-centred activities include book chains, reading groups, talking
about books on the web and video-conferences between readers in Africa
and the UK. The use of new technology and online facilities online has
been a crucial constituent in bringing reader groups together.
As part of staff development and in
order to build up their confidence and skills in this area, British
Council Information Managers from 19 countries in Africa received training
on using book promotion campaigns to promote reader-centred activities.
In Nairobi a Reader Development Officer post has also recently been
The British Council www.enCompassCulture
web site contains much information including what is involved in setting
up reading groups, authors in residence etc.
An evaluation of Africa@21,
perceived as an organic development of reader development work in the
British Council and Africa, will be carried out in early 2005.
Reading Africa: UK/Africa perspective
Priscilla Baily (Reader Development Officer,
Derbyshire CC Library Service)
Priscilla Baily:
Derbyshire has been partnered with Namibia. The aim has been to set
up activities and opportunities for readers from both sides of the globe
to share their reading experiences. To date it has been very much a
joint promotion, a very fruitful partnership. She has worked closely
with Patience Mahlalela, British Council Namibia. The aims are fairly
modest ie book promotion, reading, entertainment; to work with school
librarians and younger readers in particular. A flexible approach has
been adopted. She and Patience emailed each other to set things in motion.
Although Africa@21 was launched in April with a video conference
link set up between British Council office in Windhoek and Alfreton
Library in Derbyshire which attracted local press and media attention,
there was no rush to get it started. Children's activities were
held in the summer with African story-telling, but not until after the
Derbyshire Literary Festival in September have things begun to move.
A number of events took place during September and October at Chesterfield
and Alfreton Libraries; with Chesterfield working closely with its Namibian
twinning group – the Chesterfield Tsumeb Association. These included
an event to coincide with One World Week and Black History Month. In
Namibia public libraries, schools, and the university library have all
been involved.
What has worked? A great relationship
has been built up with Patience, ideas have been shared and the project
has been allowed to grow organically. Aims have been clear. All staff
have been involved and encouraged to try things not tried before e.g.
video conferencing and in the process readership of African books has
Bernie McManamon (Lambeth Library
Services): reported that Lambeth's links with Nigeria had been
established and there had already been two successful online discussions
linking both.
What is the future?
Paul Westlake (Director, SABDET)
Paul Westlake: Where
should Reading Africa go next? What issues should be taken forward?
The programme has involved people at all levels including the engagement
of the reader but, defined within a timeframe set by the partners and
without guaranteed continuing financial support, will the momentum be
These were questions he posed in his
summing up. Feedback, positive or critical, debates, ideas for the future,
all need to be taken into account. 50 sets of the promotion remain.
How should these best be used? Should more libraries be encouraged to
take up the promotion? Should the literature project be retained at
all? Or is it now time to consider new areas?
Africa 2005 is imminent. It will run
between February and October next year. Centred in London, the visual
arts, music, film and literature will all be primary elements. The British
Museum, the Hayward Gallery and BBC are examples of major organisations
which are already committed and the Arts Council (a silent partner in
and a significant funder of the current Reading Africa programme) has
expressed a positive interest in supporting initiatives and programmes
which would fit within the Africa 2005 context. Partnerships have been
shown to work and perhaps using this event as a focus could be made
to do so again.
Biographical notes on the
speakers and chairs:
Dayo Alabi is Managing
Director of The Book Company, Lagos, Nigeria. The company, established
in 2000, is a supplier of local and imported books, a retail bookseller
and has a small publishing list with plans for expansion. He was formerly
Managing Director of CSS Bookshops in Lagos which is a bookseller and
publisher. He was the first Director of the revived Nigerian International
Book Fair in 2002.
Priscilla Baily works
as Reader/Audience Development Officer for Derbyshire County Council,
a post she has held for three and a half years. Her job involves taking
a leading role for many reader centred activities across the county
including the management of over 80 Book Chat reading groups, running
reading promotions/projects and as a member of the Arts Team helping
to deliver Derbyshire's biennial Literature Festival. She has previously
worked in further education and as Reader in Residence for East Midlands
Walter Bgoya is Managing
Director of Mkuki na Nyota Publishers, Dar es Salaam, Tanzania which
he established in 1991. He publishes in Kiswahili and English, scholarly,
literary and children's books, within the context of cultural
autonomy in Africa. He was previously General Manager of the Tanzania
Publishing House for 18 years. He is a founder publisher of ABC and
of APNET.
Henry Chakava is
Chairman of East African Educational Publishers, Nairobi, Kenya. He
was formerly Managing Director of and successfully led the company to
full local independence from its previous incarnation as Heinemann Kenya.
The company is a major educational publisher in East Africa and has
a large list of scholarly, literary and children's books, in Kiswahili,
Gikuyu, and English. He is a founder publisher of ABC and of APNET.
Dr Chege Githiora
is a Lecturer in Swahili at SOAS and a graduate of Michigan State University
(Linguistics,1999). His academic research and writing is on east African
languages and the African Diaspora. Some of his creative writing has
appeared in the edited Global Anthology of New Black Literature (John
Wiley, 2000), and Kenya's literary journal Kwani?. He is author
of the Diccionario swahili-espanol (El Colegio de Mexico, 2002).
Kenyan born Wangui Wa Goro
is an academic, social critic, researcher, writer and translator. Her
writing includes works of translation, fiction and non-fiction. Her
recent non-fiction publication, co-edited with Suki Ali and Kelly Coate,
is on Global Feminist Politics: Identities in a Changing World (Routledge
2000). She writes poetry, which she has performed in Africa, Europe
and the USA. Her translations include Ngugi wa Thiongo'o's
novel Matigari, and his children's books in the Njamba Nene series,
which she translated from Gikuyu to English (East African Educational
Publishers). She is involved in the promotion of translation internationally
and has recently completed a doctoral thesis in translation studies,
in which she also lectures and writes. She was one of the members of
the jury for Africa's 100 Best Books for the 20th Century.
Javed Iqbal has worked
with the British Council since 1993. Before taking over responsibility
as Regional Information Coordinator for Sub Saharan Africa in August
2003 he worked as Head of British Council Information Services in Poland
from 1999-2003 and in Pakistan from 1993-1999. Before joining the British
Council he was a University Librarian in Pakistan from the beginning
of his career in 1986. He has led a number of library automation projects
in Pakistan and Poland and has been a trainer specialising in Library
Automation and Customer Care in libraries. His most recent project initiatives
include the Africa@21 reader development project in Sub-Saharan
Mary Jay is head
of African Books Collective, the African owned organisation seeking
to strengthen indigenous African publishing through cultural activities
and marketing and distributing African-published books. Since 1995 she
has also been Secretary to the Managing Committee of the Noma Award
for Publishing in Africa. She previously worked in an African studies
publishing house.
Andrew Lowing joined
Essex Libraries in March 2003 after receiving his MA in Library and
Information Studies from University College London in 2001 and working
at the London Business School Library as Serials Librarian. He has been
involved in reader development from the outset and now has particular
responsibility for promoting African fiction.
Dr Mpalive Msiska
is a Malawian academic lecturing in English and Humanities at Birkbeck
College, University of London and is Course Director for the MA in National
and International Literatures in English (NILE) at the Institute of
English Studies, Senate House, University of London. He has previously
taught at the Universities of Malawi and Stirling as well as Bath Spa
University College. He has published the following books: Wole Soyinka
(1998) Writing and Africa (1997) (Co-edited) and The Quiet
Chameleon (1992) (Co-authored).
Akoss Ofori-Mensah
is Managing Director of Sub-Saharan Publishers, Accra, Ghana. She established
the company, having previously worked in Educational Manufacturers publishing
house. Her list covers scholarly, literary and children's books;
and she is active in translation rights.
Dr Tony Olden is
a senior lecturer in library and information management at Thames Valley
University, London. He was on the staff of Ahmadu Bello University,
Nigeria, for eight years. In 2004 he visited Nigeria under the auspices
of a School of Oriental and African Studies DFID/British Council link,
Namibia for the British Council, and Somalia (Somaliland) for the Africa
Educational Trust.
Sue Pandit has been
the Director of the Oxford International Centre for Publishing Studies
at Oxford Brookes University since 2001. She teaches a range of marketing
and management modules on postgraduate and undergraduate publishing
programmes as well as delivering publishing training to a growing number
of Chinese publishing houses. She joined Oxford Brookes from the London
College of Printing where she was responsible for a number of publishing
and printing management programmes. Prior to working in Higher Education
she held a number of strategic management roles in major UK organisations.
Kelvin Smith is Principal
Lecturer in Postgraduate Publishing Studies at the Oxford International
Centre for Publishing Studies at Oxford Brookes University. In his publishing
career he has worked in sales and marketing in the UK and USA for publishers
specialising in STM, reference, niche non-fiction publications and development
publications. He has been involved with book trade issues in Africa
for many years. He runs the MA in Publishing at Oxford Brookes and teaches
marketing, product development and business finance courses.
Véronique Tadjo
is a poet, author, illustrator and painter from the Ivory Coast. Born
in Paris, she grew up in Abidjan where she earned a BA in English. Her
doctorate in African American literature and civilization is from the
Sorbonne, Paris. In 1983 she was a Fulbright research scholar at Howard
University, Washington D.C., and she lectured in English at the University
of Abidjan until 1993 when she took up writing full time. She was a
judge for The Caine Prize for African writing in 2000 and 2001 and has
been a facilitator for their writing workshops. She has won the Literary
Prize of L'Agence de Cooperation Culturelle et Technique in 1983 for
her book of poetry Latérite and the UNICEF Prize in
1993. She has lived in Paris, Lagos, Mexico City, Nairobi and, until
recently, London. She is now based in Johannesburg, South Africa with
her husband and children.
Paul Westlake is
the Director of SABDET. He is also Chair of Troika which provides sales
and marketing services for independent publishers and Chair of the Executive
of Panos an NGO which works in the field of communications for development.
A founder member of Zed Books cooperative where he worked for 17 years
as Financial Director and as Rights Director he has also worked in local
economic development.
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Our Guys: The Glen Ridge Rape and the Secret Life of the Perfect Suburb (Research on Men and Masculinities #4)by Bernard Lefkowitz
Synopses & ReviewsPlease note that used books may not include additional media (study guides, CDs, DVDs, solutions manuals, etc.) as described in the publisher comments.
Publisher Comments:
It was a crime that captured national attention. In the idyllic suburb of Glen Ridge, New Jersey, four of the town's most popular high school athletes were accused of raping a retarded young woman while nine of their teammates watched. Everyone was riveted by the question: What went wrong in this seemingly flawless American town? In search of the answer, Bernard Lefkowitz takes the reader behind Glen Ridge's manicured facade into the shadowy basement that was the scene of the rape, into the mansions on "Millionaire's Row," into the All-American high school, and finally into the courtroom where justice itself was on trial.
Lefkowitz's sweeping narrative, informed by more than 200 interviews and six years of research, recreates a murky adolescent world that parents didn't—or wouldn't—see: a high school dominated by a band of predatory athletes; a teenage culture where girls were frequently abused and humiliated at sybaritic and destructive parties, and a town that continued to embrace its celebrity athletes—despite the havoc they created—as "our guys." But that was not only true of Glen Ridge; Lefkowitz found that the unqualified adulation the athletes received in their town was echoed in communities throughout the nation. Glen Ridge was not an aberration. The clash of cultures and values that divided Glen Ridge, Lefkowitz writes, still divides the country.
Parents, teachers, and anyone concerned with how children are raised, how their characters are formed, how boys and girls learn to treat each other, will want to read this important book.
"In this gripping book, Lefkowitz takes one single event—the brutal sexual assault on a slightly retarded young woman by several high profile high school athletes in suburban New Jersey—and brings his readers face to face with the smug arrogance of predatory male sexual entitlement. And he does it not with a sweeping analysis but with a novelist's eye for precise detail, a tightly wound tale, elegantly told."—Michael Kimmel, author of Manhood in America
"Lefkowitz provides a graphic, faithful account of an amazing case—amazing because of the community's reaction to 'our guys' and the suspiciously drawn-out trial. Its true-crime approach could make Our Guys a bestseller."—Peggy Sanday, author of A Woman Scored: Acquaintance Rape on Trial
Includes bibliographical references (p. 432) and index.
About the Author
Bernard Lefkowitz, an Edgar award-winning author, has written three earlier books on social issues, including Tough Change: Growing Up on Your Own in America (1987). He teaches journalism at Columbia University.
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