A major question in African publishing is whether books should first succeed locally before gaining international traction. Some maintain that African literature must establish a strong readership within the continent before reaching global audiences. However, the realities of the publishing industry suggest a different path—one where international recognition often precedes local success.

Take Chimamanda Ngozi Adichie, for instance. Her books gained widespread acclaim abroad before they were widely distributed across Africa. This raises an important question: Does local readership drive international success, or is it the other way round? In many cases, global recognition increases demand back home rather than vice versa. Yet, for authors striving to break into their local markets first, the outlook can be discouraging. 

International fellowships and international rights forums often expose a stark truth: in many African countries, the infrastructure to support a thriving book industry remains fragile. Consider Kenya, where a book is considered a bestseller after selling just 3,000 copies in its lifetime—a modest figure not unique to the country or the continent. In comparison, West African markets have long-established publishing industries and a stronger culture of literary consumption. They also benefit from a robust network of authors, book fairs, and awards that propel their books to success. Meanwhile, East African publishers often struggle with limited distribution channels, high production costs, and a market that favours educational publishing over general leisure books. What factors contribute to this disparity? Is it a matter of population size, reading culture, publishing networks, or distribution challenges?

This dilemma forces many publishers, traditional or self-published, to reconsider the aspirations of whether African bestsellers can truly become a hit in Africa first, or if that is a dream too ambitious. And if international success is the more viable route, what does that mean for the future of African literature and its relationship with homegrown audiences?

Lessons from global platforms

Speaking with Mercy Kirui, publishing manager at Mvua Press, and Nicholas Wachira, publishing manager at the East African Educational Publishers—both of whom attended the Istanbul Fellowship in February, with Mercy also participating in the London Book Fair in March—the need to position African literature in the global market emerged strongly. To do so, it is essential to study successful African books that have so far been translated and sold internationally. 

The Istanbul fellowship, which brought together 370 participants from around the world, including 120 local publishers, underscored a vital strategy for African publishing—understanding which themes resonate with foreign publishers and readers. By analyzing the trends behind African books that gain international traction, publishers can position their titles more effectively for global recognition. But does this approach risk prioritizing international tastes over local readership? Or could it be the key to elevating African literature on both fronts?

Publishing Trends 

One of the key challenges discussed at the Istanbul Publishing Fellowship was the marketability of poetry. Many publishers hesitate to invest in poetry books because they perceive them as difficult to sell. Unlike fiction and non-fiction, poetry does not have a large commercial appeal in many markets, making it a risky investment for publishers. 

“During discussions with different stakeholders, it was evident that while people appreciated poetry aesthetically—often admiring book covers and packaging—many admitted that they do not actively read or purchase poetry collections,” said Mercy Kirui, Senior Manager in charge of Publishing at Mvua Press. This trend discourages publishers from acquiring poetry manuscripts or purchasing translation rights for poetry books, especially from African markets. However, exceptions exist, with countries like Greece and Italy showing stronger markets for poetry. An Italian publisher recently translated Mvua Press’s When Love Says Goodbye by Scholastica Moraa into Italian. 

In contrast to poetry, genres such as drama, history, and family narratives from Africa generate more interest in international markets. Publishers and rights buyers are particularly keen on acquiring African literature that explores culture, identity, and communal dynamics. This demand influences what African publishers prioritize in their pipelines, often favouring genres that have a proven global appeal over poetry. 

The East African Educational  Publishers ( EAEP) experience highlights the crucial role of international networking and rights trading in expanding African publishing. Wachira’s participation in the Istanbul Fellowship alongside Mercy marked a significant step for Kenyan publishers in a space that brought together over 350  industry professionals. With a focus on rights acquisition, catalogue development, and exposure to global best practices, the fellowship provided valuable lessons on how African publishers can better position themselves in international markets. Wachira’s key takeaway—the necessity of strategic rights selling and buying, the role of literary agencies in promoting bestsellers, and the meticulous preparation required for pitching to global partners—reflects an evolving approach to publishing in Africa.

This conversation fits into the broader challenges facing African publishing, particularly the balance between educational and general publishing. While government policies and institutions like the Kenya Institute of Curriculum Development (KICD) shape the industry’s focus on curriculum-based content, there is a growing need to prioritize leisure reading. EAEP, with its extensive catalogue of over 3,000 titles, is pushing for more engagement in general publishing to counter the distraction of social media and encourage critical thinking through storytelling. 

Women in Publishing

An encouraging trend observed at the fellowship was the increasing participation of women in publishing and rights negotiations. Many international publishers expressed interest in books written by women, citing that their primary readers were women. This highlights the importance of amplifying female voices in literature and ensuring that more women-authored books enter the global market. The upcoming Bologna Children’s Festival will host the PublisHer awards, where Mercy has been nominated.

“Women in publishing must continue seizing opportunities, making their voices heard, and sharing their stories with the world,” said Mercy, attributing her success partly to Emma House, an international publishing consultant with eKitabu.

Rethinking the African Bestseller

The publishing industry in Africa is at a crossroads. While local success remains a noble ambition, the reality is that global recognition often dictates a book’s trajectory. For African literature to thrive, publishers must strike a balance between catering to international markets and nurturing local readerships. This means investing in market research, fostering literary communities, and embracing strategic networking at global forums.

So, is it all just a dream? Perhaps. But with the right strategies, African literature can carve a space where success is not just dictated by international validation but by a thriving local literary culture as well.

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

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