Perhaps the biggest challenge of publishing in Nigeria is that it’s close to impossible to find a consistently reliable local printer. After several … - Bibi Bakare-Yusuf

The archive as a reservoir of and for memory is the place where ideas and material culture of historic interest or social relevance are stored and ordered. It is where society warehouses what it wants to remember and what it sees as worthy of remembrance, especially for the future. Whether that archive is of literature, music, visual art, film, plastic art, buildings, I am interested in what future people will find that gives them a record, a sense of this present moment.

Still, even in the age of new socialising media, who can deny that a book as a material object is infinitely richer and more meaningful than any of the arts? This is because through the thick description they enable, all the other artefacts of civilisation (music, fine arts, film, science etc) can be folded and compressed into that singular object. In the book, worlds, cultures, emotions and habits of being are collected, dissected and revealed to us so that we can have different voices to converse with in that quiet moment of aloneness, or to whip out to stimulate debate, dialogue or forment a revolution.

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.