So much so that a figure like Achebe (never mind that he himself rejected the term) is heralded as the father of African literature despite being pre… - Bibi Bakare-Yusuf

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So much so that a figure like Achebe (never mind that he himself rejected the term) is heralded as the father of African literature despite being preceded by other writers such as Amos Tutuola who had published 3 books before him and even earlier writers in South Africa like Thomas Mofolo, writing in the 1800s and whose work was translated to English in the 1900s or The Life and Struggles of Our Mother Walatta Petros: A Seventeenth-Century African Biography of an Ethiopian Woman, written by the Ethiopian emperor Galawdewos. This means that even the systemising and the categorising of our literary tradition is wrong, there’s a gap, a missing antecedent of writing in favour of writings and writers who pay homage to the metaphysics of English. Of course, this has meant that in the literary space, we have not been as prolific as our situation demands or the population of the continent.

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About Bibi Bakare-Yusuf

Bibi Bakare-Yusuf Hon. FRSL (born 1970) is a Nigerian academic, writer and editor from Lagos, Nigeria. She is the co-founder of the publishing company Cassava Republic Press in 2006 in Abuja. Bakare-Yusuf was elected an Honorary Fellow of the Royal Society of Literature in 2019, as well as having been selected as a Yale World Fellow, a Desmond Tutu Fellow and a Frankfurt Book Fair Fellow.

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Alternative Names: Bibi
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African literature today is still struggling to emerge from the shadow of that 1962 conference, which according to Mukoma, set in motion the hegemony of the realist tradition in African literature. The realist tradition inaugurated by the Makerere Brotherhood (and yes, we can talk in terms of brotherhood because only two female writers were present) not only disregarded and arrested the growth of writing in African languages, it curtailed the growth of writing styles and flights of fancy that may be more attuned to some of the fantastical wanderings of nocturnal storytelling traditions that many may be familiar with.

Digital innovation is likely to have an even stronger impact across Africa than in the West, simply because of the historic lack of access to books... Digital innovation is allowing us to build our audience base through social media. And because we have a single platform for markets —Nigeria and the rest of the world–audiences are able to interact, connect and engage each other in a way that they would not have previously done.

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What I am interested in is how we create what I am calling the African archival future which will then form part of a global archive. Publishing for me is therefore essentially the work of archival creation and a potential tool of power and control, a tool that helps to shape how we view ourselves and make sense of the world.

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