By
IM SOQAGA
So far as world literature is concerned,
African literature has featured successfully in the world of letters. Unanimously, literary pundits have commended
African literature as one of the extraordinary dimension in the world. From inception, African modern literature has
been profoundly impressive.
As many will consent and will of course
recall how over the years African writers have contributed imperatively in
popularising African literature in the world.
Chinua Achebe Things Fall Apart, The Interpreters by Wole Soyinka, The Beautyful
Ones Are Not Yet born by Ayi Kwei Armha, Es’kia Mphahlele Down Second Avenue,
Peter Abrahams Mine Boy, Weep Not, Child
by Ngugi wa Thiong’o, God’s Bits of Wood
by Ousmane Sembene to name but few-hypnotize the world exceedingly.
On the other hand African female contemporary
writers have concurrently contributed enormously immaculate in African
literature. African mothers like Bessie
Head, Grace Ogot, Buchi Emechete, Ama Ata Aido, Mariama Ba, Lauretta Ngcobo
etc. Can any shun the spectacular achievement
that will invariable remain an awesome inspiration? In 1986 Professor Wole Soyinka became the
first Black African writer to be conferred with the prestigious Noble Prize in
Literature.
Apparently, it is gratifying to see
young writers continuing to do excellent in advocating African literature. The current situation which is the digital
era is probably daunting. The influence
of modern technology is very potent and it can be adverse if it is not use
appropriate. Many people in the world
today rely on technology, in schools technology is part of the school
curriculum.
Fundamentally, students need
to fathom and grasp this opportunity and be familiar with the technique of
using technology for relevant purpose.
Internet provides requisite researches for the empowerment of the
mind. Inevitable, many schools in Africa
are still following the old method of colonial type of education. For example, it is hardly to found African
books written by African writers being part of the curriculum or syllabus in
school. How many African people who know
that Professor Soyinka is the first Black African writer to be awarded with the
Noble Prize in Literature? How often
Africans communicate about African literature generally?
Do televisions, leaders, academics and
general population of Africa ever emphasise African literature? Yes! We are living in the digital world where
Smartphone’s are dominating quotidian activities of people in the world. Smartphone’s are equally convenient in
providing animating information that is pertinent and illuminating about
literature. Books are ineluctable and it
can be impossible to be replaced by any alluring technology. However, technology is significant in
furnishing heady details about African literature. To reiterate, it is not easy to found
colossal number of books churn out by sublime African writers in African
schools, libraries and so on. This is
the worrying situation because African literature is popular in the West;
therefore for one to be informed, it is essential to appreciate the value of technology.
Tendai
Huchu, the charismatic young Zimbabwean
writer is the apposite paradigm in these circumstances. Many young writers throughout the African
continent are contributing resoundingly in literature. Their invaluable contribution is noteworthy
because it is optimal for Africa and its people. Chimamanda Ngozi Adichi, Noviolet Bulawayo,
Mukoma Wa Ngugi, Charmaine Kolwane, Matshidiso Taleng, Leke Giwa, Henry
Ozogula, Jah Rose, T. Thiba, Tendai Huchu etc are prodigious young African
writers.
Specifically, Tendai Huchu is one of the
sublime and outstanding young African writers.
His scintillating two books The Hairdresser of Harare (2010) and The
Maestro, The Magistrate & The Mathematician are tour de force. As a Zimbabwean writer his contribution in
literature is exhilarating. Can the
world expect another Dambuzdo Marechera?
Tendai Huchu deserves to be acclaimed with the sterling work he is
doing.
It is completely riveting to see
Africa produces such assiduous and salubrious writers of the character of
Tendai Huchu. One can easily say, with
lot of ecstasy that African ancestors are with African people, because early
pioneers and catalyst of African literature are rapidly leaving this
world. Tendai Huchu has sum up what
constitute literature in digital era: “I
do think, though, that in this digital age, the short story may gain an edge,
and it is thriving online. There’s
probably more digital literary magazines out there than there are reader”. Substantially, it is satisfying to see young
writers slake literary appetite in this wise.
Excitingly, it is a ravishing thing to
see them carrying on the work which the pioneers and catalyst of literature
have already been doing. Tendai Huchu
is the inspiration and sagacious young writer, his first novel,
The Hairdresser of Harare, was released in 2010 to critical acclaim, and has
been translated into German, French, Italian, and Spanish. His multi-genre short fiction and nonfiction
have appeared in The Manchester Review, Ellery Queen’s Mystery Magazine,
Gutter, Interzone, AfroSF, Wasafire, Warscapes, The Africa Report and
elsewhere. His new novel is The Maestro,
The Magistrate & The Mathematician.
