This book, the first anthology of its kind, encompasses poems collected from 3 different national High School poetry programs. It could perhaps be the only book of this kind in East Africa.
“So I seize the vocabulary of complaint
And transform it into a language of discontent
For long I have endured being soft-hearted
But I can’t bear being soft-headed.
If only words were bullets that shoot our tormentors!
“Those that slice and dice us
Into us and them, we and they
Those that dissect our society into layers of class.
Those that describe us in shapes and size
And see is through lenses of slavery.
“I talk of those ingrates
Those corrupt, carnivorous, hyenas.
Who have stripped Africa naked of her dignity
And plastered her colonial wounds
With bondages of civil wars and genocide…”
CLARION CALL by Nakaweesa Ruth, Mount of Olives College, Mukono
THE SAVANNAH KNOWS NO FRIENDS is an anthology of poems from 13 high schools which are;
Format: Paperback & Kindle
Language: English, Luganda
Number Of Pages: 64
Publisher: Kitara Nation
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“I think of Rusho’s LIGHT as an act of taking the veil off the world; of the man he is, and that of the people around him. I am deliberate about calling it an act because it’s memory in motion. Each poem dances below a bulb at its own tempo and intent. Some of them seek it, the spot, while others avoid it so that the pains and injustices in their bodies aren’t seen. But a lot is on display still, even during moments of darkness. Questions about gender and the human body, loss, relationships, the country, self, and so on. I admire the bravery by which he writes about himself. What drives a man to speak about himself with such honesty? The only way to find out is by diving into the poems he presents as a mirror.
-Lule ssebo Lule, author of OGENDA WA?
“A nation turning into a mortuary” as an “experiment in human suffering”. This is an example of how powerful Richard Otwao’s poetry is: using deceptively simple diction and imagery, he vividly captures the tragedy that African countries have suffered in different situations of war, dictatorship, deprivation, disease, and insult, to mention but a few. With delicate irony and humour, he shows us that not all is lost, for if we mediate upon our deeds and will ourselves into loving our fellow human beings a little more, we can salvage something from the mess we have put our countries, and ourselves, into.”
-Dr Danson Sylvester Kahyana, Senior Lecturer in Literature, Makerere University
“No speaking Vernacular was beautifully performed; humourous, witty, revealing. I thought the play clearly brought out the shortcomings of an education system that wholly demonizes the use of native languages in schools. No Speaking Vernacular pits Mr. Full stop, the John Speke High School Headteacher against Dambya, (Nsubuga Muhammad) a renegade vernacular speaker. Dambya’s sin is using the Luganda word ‘gwe’ which Mr Full stop considers an unforgivable breach of Article 23 of the school Regulations.
In punishment, Dambya suffers the minimum punishment prescribed by the regulations. He is caned. He is forced to wear old sisal sackcloth, a bone around his neck, and a placard bearing the words: “I am stupid. I speak Vernacular.”
– Herbert Okello Andrew, Lawyer, teacher.