“If you are here, it is because you believe that life is more than biological—and particularly subscribe to the idea of spiritual food: books.” These were the opening remarks by Charles Courdent, the Director of Alliance Française, at the 4th edition of the NYrobi Book Fest held from 11–13 April. The theme, “A Decade of Kenyan Stories—Past, Present & Beyond”, was not just retrospective—it was a provocation. 

“We are who we are,” said Yvonne Owuor, author of Dust, during a fireside chat just before the closing of the festival, making a case for the place of Kenyan stories and Kenyan identity. The festival brought together diverse  voices, from that of Billy Kahora, former managing editor of Kwani? literary magazine, to self-published comic authors like Oscar Oswe and short story writers like Buke Abduba. It created a space that asked not only where Kenyan stories have been, but where they’re headed.

Moving beyond Kwani?

A child who washes his hands well can eat with the elders

“We are not going to grow without thinking about our kids—the young authors—and we want to thank eKitabu for stepping in,” said Kahora in his keynote speech.

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? The danger in constantly invoking Kwani? is that it risks becoming a gatekeeper itself, where those who didn’t belong to that era or community are quietly sidelined.

While mentorship between generations is important, the reality is that it often comes with tension. Veteran authors—many of whom carry the scars of building platforms like Kwani? can, understandably, expect recognition before offering support. But this insistence on loyalty to legacy can end up blocking new and equally valuable contributions. From discussions with literati and literary enthusiasts, it’s obvious: young writers are often overlooked, and when they are recognised, it's met with scepticism.

What’s more worrying is when young writers themselves internalise this gatekeeping and replicate it within new circles—protecting status, excluding others, and perpetuating the same hierarchy they once resisted. If the goal is growth, then the literary space must become a place where legacy honours, but doesn’t hinder, the emergence of new voices.

Of Western patrons and other stories

Another question that floated subtly, but firmly, throughout the festival was the issue of Western patronage in African literature. With colonisation still putrid in our stories and firmly etched in our psyche, now more than ever, there is a call to have more African-led publishing. It's an old conversation, but it’s finding new shape as more authors and some publishing houses receive foreign funding or leadership.

“Masobe Books have become huge disruptors in African publishing. We need to ask ourselves how their model can be replicated here in Kenya,” remarked Kahora. Indeed, Masobe Books  exemplifies a model of self-reliance; it's essential to recognise that not all African publishing houses have the same access to resources or networks. eKitabu's ability to secure Western funding has enabled it to support and promote African literature, which is a significant contribution, even if it complicates the narrative of pan-Africanism.​ It is a no-brainer that  pan-Africanism is about the unity and empowerment of African people; then, in its most direct sense, it would be difficult for someone outside that community to fully be pan-African. However, that doesn’t necessarily mean a non-African can’t support the movement or appreciate African stories. 

The crux of the matter isn't necessarily about severing ties with Western funding but about ensuring that African voices and stories remain at the forefront. This means advocating for equitable partnerships, where African leadership and vision drive the direction of the publishing house. It's about creating structures that allow for sustainable growth while maintaining cultural integrity and ownership.​ Ultimately, whether someone can claim to "love African stories" while being non-African is complex. However, the answer lies in the intentions and methods of engagement. 

Drum rolls for the Books in Africa podcast

In case you missed it, Books in Africa soft-launched its podcast at the NYrobi Book Fest with a vibrant session featuring two of Nairobi’s finest writers. Live with the Cikus brought the city’s signature energy to the stage, with Empress Ciku Kimani Mwaniki and Ciku Kimeria—authors, respectively, of NaiRobbery Cocktail and Dance of the Monkeys—delivering wit, insight, and plenty of laughter. The session was proudly moderated by yours truly. The podcast will feature conversations with African writers, book clubs, bookstore owners,  virtual book discussions, literary salons, and unexpected moments from the continent’s literary scene. 

You’ll want to tune in. 

Tracy Ochieng is a staff writer with Books in Africa. Email: tracy.ochieng@ekitabu.com