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Njugu Karanga and a Mercedes-Benz
Esther had been told, now and then, that she had a beautiful smile, but it was not often that she found a reason to smile. As she looked at her passport, she knew that not only had Lady Luck smiled upon her, she had, for good measure, also thrown in a happy giggle. In her little palms, she held her passage to the United Kingdom – wealth and good life were beckoning. She thought about how it would be like to not live in poverty, which had stalked her life like a shadow. It was the same poverty that had stalked generations before her.
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Bookstores like Kibanga offer an alternative to imported bestseller lists and one-dimensional narratives. They become more than just sellers of books — they are cultural custodians, curators of local voices, and channels through which Kenyan and African literature can truly be read, discussed, and loved.

Storytelling motivates children to read more, which in turn helps them to improve on their language skills.

In a collaboration with Mvua Press, one of Soi’s iconic women becomes the face of After 4.30, a timeless book that digs deep into the lived experiences of women navigating violence, survival, and solidarity.

The sudden death of a pious Man of God saddened and worried me. What kind of man would the white smoke billowing out of the Vatican’s Sistine Chapel unveil to replace him? Would he be a sissy and conniving charlatan or a fearless shepherd with the spine to resolutely poke fingers into the devil’s nose? asks Ted Malanda.

At the heart of Kenya’s literary scene lies a reverence for the past, especially for what Kwani? represented. Its legacy is undeniable, and its contribution to literature in East Africa deserves to be acknowledged. But how long can we keep circling the same conversations?

"There's a market, and there's curiosity about African stories by Africans. We must find our way into that market," says Empress Ciku Kimani-Mwaniki.

