“This anthology also highlights important conversations that need to be had; rape, defilement, female oppression, global warming, politics, discrimination among others. We hear a generation that is worried for the state of our nation, and for the generations to come. You will feel the anger, sadness and mixed emotions through lyrical puns and some of the vividly descriptive pieces, and you will never get enough. I especially loved the ‘Ungodly Hour’ for its ability to speak on these important matters unbiased and while making great stories and songs from some equally tragic experiences.”
-Aanyu O. Deborah, Former President, Writers’ Club, Mt. St. Mary’s College, Namagunga.
“A woman’s happiness depends on how well she understands the Advanced Learner’s Dictionary for women. ALL WOMEN SHOULD LEARN THAT THE FOLLOWING ARE SYNONYMOUS.
Hem above my knee. Invitation
Slit above my ankle. Invitation
High heels. Rape me
When I go to the post office. Rape me
When I apply for a job. Rape me
When I breathe. Rape me
When I say no. Rape me.
When I say no. Rape me.
Let’s fight for those whose dreams have been broken by their gender.
I mean, society’s expectations.
I mean, relatives’ recriminations.
I mean, fear of persecution.
Fight for us.
Fight for me.”
-MATHEMATICAL EQUATIONS FOR WOMEN (by Kintu Annabelle, page 41)
The Students of Mt. St. Mary’s College Namagunga under the school’s Writers’ Club contributed poems to this anthology. All published for the first time, these young poets have made various strides in their poetry lives. Odong Daniela and Phoebe Elem have since started poetry podcasts and Kemigisha Michelle has started a poetry card business.
Format: Paperback & Kindle
Language: English, Runyankore-Rukiga
Number Of Pages: 82
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?
“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.
“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