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Reflections

In a World of Gatekeepers, Binyavanga Held the Door Open

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Literary scholars have a way of frowning upon other literary media not in their stable. Poets often assume theirs is the best medium. Those who study prose think it is the only serious discipline in the department. But Binyavanga was keen not to bring the scholarly cherry picking and the endemic genre in-fighting. He allowed Kwani? to incorporate everything artistic. And the results were amazing.

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I remember the patriotic pride that swelled in me, as a teenager when I saw Binyavanga Wainaina on the cover of a Daily Nation pullout, when he won the Caine Prize in 2002.

The beaming beady eyes. The dreadlocks. The chunky body frame. With a kitenge top, to complete what we typically call the ‘African look’. And then, there was the name. Who names their kid Binyavanga? But in that little hardware shop run by my aunt and guardian, I knew a Kenyan had won some international award for a short story, and it was a moment of inspiration for a young man who loved books.

As an excitable teenager, I never thought in a few years I would shake his hand, that he would agree to my request to interview him for a piece that would appear in a third-rate, Indian, Delhi-based newspaper, and through him, I will meet some of my childhood and adolescent literary heroes such as Micere Mugo, Ngugi wa Thiong’o, Chimamanda Ngozi Adichie and Yvonne Owuor.

In my community, when someone dies at a relatively young age, with so much yet to give, women cry in a very specific way.

They touch and knock the coffin, screaming, all the while quarrelling with the body of the deceased, as if the body cares. They always ask the deceased: “Why have you shamed us?”

They ask in a manner that even the most macho man break down in tears. It is the palpable pain in their cries. Because, not all deaths are equal; some leave us more devastated than others. And I am sure, for the Kenyan literary community, Binya’s death, despite the premonitory strokes that he suffered in recent years, feels the same. He has shamed us, really mocked us. He pulled a fast one, choosing rest over work, and at only 48, when the life of a writer starts to peak.

Personally, I have been waiting for his novel, and newer works, as he promised during my last interview with him back in 2013. Because there has never been a better prose writer than Binyavanga, who with surgical eyes, pointed out at the idiosyncrasies and inconsistencies of modern life in Kenya and the world, and whose prose brimmed with vivacious sentences, peppered with wit, irony, humour and brevity that only an intelligent mind can conjure. And oh! His candour.

You just need to re-read his cinematic short story, Discovering Home, and how little has changed since he wrote the story about 18 years ago.

Discovering Kwani?

After high school, when it dawned on me that I would not earn a place in medical school, and my cash strapped background meant I could not privately sponsor myself for a degree in medicine, I wanted to be a novelist.

The mid-2000s were a beautiful time to be a creative. When I joined the University of Nairobi for my degree in Literature, among my earliest memories are the Kwani? Open Mic poetry sessions then held at Club Soundd along Wabera Street in downtown Nairobi.

We were young, new in town, smelling like freshly cut arrowroot. Our lecturer took us to Club Soundd, and we would meet journalists whose bylines we worshipped, poets so good but so understated and underrated, and the entire Kwani? brigade. The Open Mics were the best of the carefree freedom Kenyans were reclaiming since KANU was chased out of State House in that euphoric 2002 election. Annoyingly though, the drunkards always got in the way of some of the pithiest presentations. Still, to us, it was eye-opening, and my classmates of poetic disposition always had a chance to read their poems.

Local creatives in this city rarely have a place, much less a consistent platform where they can express themselves, even today. Places like the British Institute, Goethe Institute and Alliance Francaise often provide the physical avenues, but rarely do we have a truly local space where we can be Kenyan without trying too hard to fit into the sensibilities and artistic expectations of the benefactors. And that is what the Kwani? Open Mic was all about. Through it all, we were able to look at ourselves in the mirror, as the youth expressed their angst, capturing the zeitgeist of the 2000s, with tribalism, extra-judicial killings, corruption, the ever-widening class gap, and the soon to erupt post-election violence.

The Open Mics were made possible because of Binyavanga’s bohemian incorporation of all forms of art – poetry, music, prose, performance, painting and everything with artistic spirit in it. Literary scholars have a way of frowning upon other literary media not in their stable. Like the way poets often assume theirs is the best medium. Those who study prose think it is the only serious discipline in the department.

But Binyavanga was keen not to bring the scholarly cherry picking and the endemic genre in-fighting. He allowed Kwani? to incorporate everything artistic. And the results were amazing.

As a first-year student in 2008, I remember when Kwani? brought the future Nigerian superstar, Chimamanda Ngozi Adichie to my university. At that time, her second book, Half of a Yellow Sun was fresh off the press, and anyone with a literary brain knew that she was on course to be a super star. She was in conversation with Sierra Leonean author Aminata Forna and Angolan author Sousa Jamba.

Read series: Binyavanga Wainaina

In a discussion moderated by the great late Prof. Okoth Okombo they talked about the role of conflict as a crucible of creativity. And these writers came in the aftermath of the 2007/8 post-election violence that crushed the myth of Kenyan exceptionalism in Africa. All the authors came from countries that had endured civil wars. Chimamanda Adichie’s novel was about the Biafra war that has refused to wash away from the conscience of the Igbo people. Forna’s mother country, Sierra Leone, had endured a protracted civil war and was just recovering. I remember Prof. Okoth Okombo saying that countries that have gone through traumatising events produced better music (DRC, he said), better novels (Nigeria), because conflict forges the best of writers and artists. I think this was an attempt to make the horrors of the post-election violence somehow redeemable for Kenyan creatives. I’m not so sure how well it worked.

In successive literary festivals, 2010, 2012, and additional events we would meet young and old, globally acclaimed authors such as Okey Ndibe, Teju Cole, NoViolet Bulawayo, Taiye Selasi, as well Ngugi wa Thiong’o, Mukoma wa Ngugi and Micere Mugo. In all the festivals, Binya always hovered at the periphery, not addicted to hogging every space. He also wrote worthy praises of Yvonne Owuor’s Dust, a book that explored our collective silence towards the old wounds that hurt our country the most.

And for these fond memories, we can all be grateful to Binya, because it was the seed he planted a decade earlier in Kwani? that made it possible.

A Kenyan Literary Gem

In many ways, Binyavanga to me was like Bakayoko, the main character in Sembene Ousmane great novel ‘God’s Bits of Wood’. He is the absent leader of a revolution, only spoken in scattered references for nearly two-thirds of the books and only appears towards the end. But whose spirit is felt throughout the revolution. He was multifaceted, idealistic and practical, unrestrained, loquacious, arrogant where necessary, but always with good intentions.

Usually, in the literary sphere, older writers and seniors always look down upon young upstarts. Rather than accommodate new voices and new approaches to doing things, they sit prim in their quaint offices pining for the good old days, rhapsodizing about canonical writers of their time. Binyavanga did things differently, giving young creatives a chance, because with no one to hold the door open for you, you can die with your talent. And the door Binyavanga opened paved the way for many award-winning writers to launch their careers.

It is this generosity in a world of selfish gatekeepers that helped create the Kwani? fortress from whose well we would all drink the wisdom of our time. For this, I take a bow at the man we just lost.

Earlier in May, I complained to a friend that my biggest beef with Binyavanga was that he was less prodigious that he should have been. But I was thoroughly impressed by Isaac Otidi Amuke who made an online archive of all of Binyavanga’s writing, and what an oeuvre is he leaving behind! Someone should anthologise everything in a one-volume reader.

Still, I would have appreciated some more fiction from him. But maybe fiction was not his forte, as he was more a memoirist in the mould of James Baldwin, as Mukoma wa Ngugi mourned him in his tribute in Africaisacountry.com. Baldwin, indeed, is better when writing essays than in fiction. As a travel and food writer, few writers in Africa did a better job than Binyavanga. In the multiple magazines he wrote for, locally and internationally, his prose and cunning eye for irony leaves one breathless.

The best trait of writing is longevity. When he came home, from South Africa in the aughts, he caught the spirit of the time, by his photographic prose of Nairobi in the early 2000s, and re-reading it now, I noticed little has changed since then. It is even worse, under the Jubilee regime with its similarities to the worst of the KANU regime.

At Nyamakima in downtown Nairobi, where he goes to board a matatu and travel to his hometown of Nakuru, here is how describes what he observes;

A man wearing a Yale University sweatshirt and tattered trousers staggers behind his enormous mkokoteni, moving so slowly it seems he will never get to his destination. He is transporting bags of potatoes. No vehicle gives him room to move. The barrow is so full that it seems that some bags will fall off onto the road. Already, he is sweating. From some reservoir I cannot understand, he smiles and waves at a friend on the side of the road, they chat briefly, laughing as if they had no care in the world. Then the mkokoteni man proceeds to move the impossible.

An ordinary writer may not have observed the irony of poor soul in Africa pushing a cart donning a Yale University sweatshirt. These images still recur in Nyamakima today. Despite the transition of two regimes in power, what he captured in the short story is still evident, a perfect demonstration of our stagnation as a country, even with its perceived growth.

Or his piece of satire for Granta, How to Write About Africa, still regarded the SI Unit of Satire; so illuminating, so piercing, that most white people who come to Africa, have to pay homage to the piece, and keep it in the conscience as they write about the African content.

In the interview I had with him for the Delhi based newspaper, he sounded more optimistic about a renaissance of the African arts, and at the time, he was contributing to Chimurenga, the irreverent South African publication that cherishes African languages, something Binya told me would grow in the days to come. And as you may notice, most Africans are now conscious of their image to the world. And when American and British media outlets that have tried to write nasty things about the continent, they have found themselves on the wrong end of the ire of the African Twitterati. I know Binya will stir from the grave every time a foreign journalist will attempt to misrepresent Africa.

In his memoir, ‘One I will Write About this Place’ the outstanding feature is his candour. He talks about masturbating to Pam Ewing with teenage exuberance. This is the same openness that makes him to tell off some Europeans who ask him to travel to Sudan and write about his experience. When they spurn the work he wrote for having unseemly language and not meeting the sensibility of the donor, he told them to ‘fuck off’.

“I start to understand why so little good literature is produced in Kenya. The talent is wasted writing donor-funded edutainment and awareness-raising brochures for seven dollars job. Do not complicate things, and you will be paid well…”

He would write more about what it meant to be a Kikuyu in Kenya in the disastrous years of the Kibaki administration, leading to the post-election violence. Some have accused him of falling to the trap of ethnic supremacism claiming that the undertones in his works tend to cultivate the myth of Kikuyu superiority.

Coming Out

Binyavanga was bold enough to come out in a country where most gay men lead double lives, because coming out will ruin their careers and family.

Most people hold strong reservations on what being gay means. Rather than try to understand, many choose to hide under the cover of religion or culture when they want to trounce on the rights of others.

To me, Binyavanga understood that you only live once, and rather than lead life as a hypocrite, you can still live a richer, far fulfilling life, if you are honest with yourself.

While his death has robbed us a literary genius, we can always remember his great writing, his fervor fighting for the African image, and most importantly, for defining the Kenyan and literary scene in the first two decades of this millennium.

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Silas Nyanchwani is a writer and journalist based in Nairobi, Kenya.

Reflections

Education in a Time of Coronavirus: How e-Learning is Impacting Poor Rural Students

Unable to exploit the internet like their more fortunate peers, poor students in Kenya’s rural areas are losing more of what little chance they have to succeed in an education system that already does not favour them.

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Education in a Time of Coronavirus: How e-Learning is Impacting Poor Rural Students
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“[T]he Government of the Republic of Kenya at this time (. . .) is not going to consider stopping e-learning. Well, I keep saying that (. . .) all our children are equal. Those who can access content, they will get access of the content (. . .) I think it is better to allow the ones to get, and hope that the period is as short as possible, and when the time comes we shall empower the others.” – Education C.S. George Magoha

Solomon sent me a message to say that he wouldn’t be coming in the following day; he wanted to finish some tests he had started the night before on Tusome and send them in for marking. Solomon is a student in a boys’ boarding school in chilly Kinangop, high up in the Aberdares, but he’s been back home since the coronavirus came to play havoc with the school calendar.

The message was sent from a cheap smartphone with a cracked screen. Solomon didn’t always have a phone; I used to have to call his granny, an irascible old woman with a harsh tone of voice and an abrupt telephone manner, if I needed to talk to him. “Uga!” (Say!), she would bark, leaving me momentarily confused about why I had called.

Left to fend for three orphaned grandchildren at an old age and with no income other than the money she could make as a casual labourer, Cũcũ wa Solomon had no choice but to send the children out to look for work during the school holidays, and that is how I first met Solomon, a pimply lad in an oversized hoodie and a tattered pair of sneakers. Since then Solomon has come to me during the school holidays, helping with the weeding and trimming the hedge, making a man’s daily wage to supplement the family’s income, and recently buying himself a second-hand cell phone.

Solomon is in Form Four now and will sit for his Kenya Certificate of Secondary Education this year; he tells me that he has received a message from his school confirming that the exams will start on the 4th of November. He has his smartphone and the wages with which to buy himself internet bundles, but without the textbooks and his teachers’ help, I do not know what Solomon’s chances are.

Mose’s situation is quite different. His mum has a kabambe of a phone, with a long-lasting battery and a bright torch that takes over when the electricity tokens run out in the two-room rented home she shares with her two boys. It is not of much use to Mose, who is in his last year at our local primary school, and who would need a smartphone to register on the Tusome platform in order to access revision notes and mock tests.

The closure of all schools was announced very abruptly on a Sunday by the government, leaving the teaching staff at our local primary school with very little time to prepare homework for the pupils while they waited for schools to reopen. And so, the head teacher, a deeply committed educationist who accomplishes very much with very little, has resorted to sending links to downloadable learning materials to the parents of Class Eight pupils even while acknowledging that, for a great many, access is impossible. Registration on the Tusome platform is free but it still costs 50 shillings a day to use, 300 shillings a week and 1,000 shillings monthly (contrary to the misleading information on the site).

Wa Mose works as a casual labourer on the surrounding farms and on building sites, earning 250 shillings from eight in the morning to one in the afternoon. She’s an industrious woman; she knits school jumpers to order in the evenings and does other people’s laundry in the afternoons. Still, her earnings have not stretched to the acquisition of a smartphone and now she is fretting over Mose’s prospects come the exams.

But even if Wa Mose did own a smartphone, her son would have to spend hours squinting at the small screen, scrolling through all the 141 pages of mathematics before taking the online tests and moving on to the next subject. The pages are not printable, and even if they were, they would cost 1,410 shillings to print. Wa Mose would have to find money for that one subject alone (and there are five in total), not to mention the cost of the internet bundles it would take.

One might be led to believe that the Tusome platform is an initiative of the Ministry of Education since it borrows its name from a programme run by the ministry, but it is in reality a private money-making initiative that is merely providing access to PDFs of scanned copies of existing learning materials.

Over at Teachers Arena, a website that started out as a WhatsApp group where teachers shared resources and information, there is no need for registration; access to the content is free and the material is downloadable and printable. However, the mathematics section alone runs to 54 pages. At our local cybercafé, Wa Nancy charges 10 shillings per printed page, so it would cost 2,700 shillings—at the very least— to print the revision notes and mock tests for all the subjects.

To avoid leaving her children at home unsupervised and getting up to no good, Wa Mose has sent the boys to their grandmother where, fortunately, there is a radio on which they can listen to the educational programmes that are broadcast by the Kenya Institute for Curriculum Development.

However, even this choice is not open to all. When I asked Kahiga’s mother if at least the family had a radio, her answer was simple and stark: “We have nothing.”

Wa Kahiga lives with her children in a rented room on the edge of our township, selling her labour to others for 50 shillings an hour. Work is not always easy to find and hunger is familiar in her home. And although quiet and soft-spoken, she is forthright and brutally honest if the choice is between the PTA contribution and keeping the family fed. Nevertheless, the head teacher keeps Kahiga in school and waits patiently for the money to be found. Now Kahiga is at home, waiting, and lacking the means to improve his chances of escaping the grinding poverty that is his lot.

Mose’s head teacher is not sure how the school will make up for the lost time. Although the majority of the school’s pupils are day scholars, the school does offer boarding facilities for pupils coming from further afield, as well as those from our locality whose parents wish them to board. He had contemplated proposing that all the 176 KCPE candidates become boarders for the rest of the year once schools reopen in June (if they do), with the staff teaching from early in the morning till late in the evening after supper, as well as on Saturdays, so that the syllabus can be covered before the exams. But space in the dormitories is limited and squeezing in more beds would compromise the social distancing necessary to stop the spread of the coronavirus. And so the head teacher has had to give up that idea; as it is, he is not even sure how the school will practise social distancing in the classrooms.

Still, it is unlikely that many parents of day scholars would have taken the head teacher up on that suggestion, even were it workable. The extra money to cover the boarding fees and the necessary supplies would have to be found, yet many of the parents have not paid last term’s boarding fees in full, which has in turn had a knock-on effect on salaries. The school relies on the fees to pay the ten support staff who include the workers employed to cook and clean after the pupils and the groundsman who also doubles up as the school’s baker. The head teacher has had to call upon the goodwill of the school’s banker to pay their April salaries but he has forewarned them that May salaries may not be paid on time.

The rains have been abundant, though, and there is plenty of work available weeding on the farms around us. All hands are on deck now, with parents and their children going out to sell their labour and earn as much as they can before the rainy season ends, so the wherewithal to settle last term’s balances and cover next term’s costs might yet be found.

Even though mobile telephones have become ubiquitous in much of the country, the digital divide remains firmly in place, a vast chasm that keeps children from rural areas and disadvantaged backgrounds separate, unable to exploit the internet like their more fortunate peers, and, in this time of coronavirus, losing more of what little chance they have to succeed in an education system that, from every fathomable point of view, does not favour them.

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Reflections

Remembering Binyavanga

The Binj, a larger-than-life personality who, through sheer force of will, opened up the literary space for young African writers who have gone on to give us some of the best writing in generations.

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Binyavanga: He Was One of Us, and We Are Him
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In the early noughties, I was working on a project to publish a lifestyle magazine that my team called Miro. “Miro”, deriving from “Amero” or African American, is a word that urban Nairobians of yore used to describe black people. We were hoping to come up with the first urban lifestyle magazine in which Nairobians would see themselves represented as they did in the Ebony and Essence Magazines published in the US.

During that period, I met a guy named Peter Achayo who had a clothing label and believed in what we were doing. He also knew some other guys doing something similar but their focus was mainly literary. He offered to make the introduction and in early 2005, I met the leader of that group, Binyavanga Wainaina, at the Java Coffee House on Mama Ngina Street, a dreadlocked, dark-skinned, heavyset fellow of medium height, sitting in the company of several people. We sat at a booth where I explained to him what my team and I were doing and trying to achieve. He listened keenly, offering several suggestions which I noted. Binyavanga told me that Ghanaian writer Ayi Kwei Armah, who wrote The Beautyful Ones Are Not Yet Born, was in town at his invitation and wondered if an interview with him would be useful. I jumped at the opportunity as I had read the book as a teenager and rated the writer highly.

On the day of the interview, I made my way to Lillian Towers, aka the Nairobi Safari Club, where Binyavanga had me sit at the lobby and wait to meet the great writer. At the time, our magazine Miro hadn’t seen the light of day but he was willing to accord me the same respect that I had seen accorded to journalists who had been around for a while. That respect was something that I carried with me into a career as someone who catalogued the lives of those whom I met. For Armah it was probably just another interview but it forever changed my perception of what being African was.While our efforts at creating a publication failed only months later, I cherished the meetings I had had with this guy with a weird name and with the famous writer from Ghana.

A year later, I founded a new website/blog called NairobiLiving.com (since discontinued) to catalogue a city that was evolving in multiple ways. Some of the hottest gigs at the time were the monthly Kwani Open Mics, an even which was first hosted at the Yaya Centre and later at Club Soundd on Kaunda Street. My reviews of the Kwani Open Mic events got me an invitation to the East African Writers Summit at Lukenya in 2006 organised by Kwani Trust because I was cataloguing the literary revolution that was taking place.

My life was a mess when I received that invitation. My mother had invested a huge sum of money to ensure that I received the best private university education. I had left the country for a year and a half and returned floundering. I was a thirty-one-year old man with no income who had moved back to live with his parents. The magazine project that I had initiated had failed spectacularly and I was desperately looking for something to fill that void both as a career and for income.

I attended the Lukenya writers’ summit and adopted a sort of mute position, one that I would adopt for many years to follow where Binyavanga was concerned. I sat and listened in on the panel discussions by day and, in the evenings, on the conversations that took place by the campfire over copious amounts of alcohol. Listening to Binyavanga, Yvonne Adhiambo Owuor and others discussing the challenges and the opportunities in their writing careers had a marked influence on my life. Binyavanga spoke about the need to write back to the European canon, challenging the writing that defined Africa from the likes of Ernest Hemmingway and Joseph Conrad. It was an amazing opportunity for someone seeking purpose in life. That weekend was a turning point for me and I committed to this writing world fully in the months and years that followed.

In making this commitment, I got to know more about this dude who went by the name Binyavanga—or The Binj, or Binya to the many who knew him in the African creative community—and who was central to my making such a life-altering decision. Over the years of a glittering career, his work was featured in many of the world’s most famous publications. Starting with G21, the magazine which had featured his award-winning short story Discovering Home, his work could be read in Chimurenga, Virginia Quarterly Review, Granta, The East African, National Geographic, New York Times, Transition, Bidoun, Harper’s Magazine, The Guardian, Africa is A Country, Jalada, Bomb, etc. At one point he had a regular column in the South African newspaper Mail & Guardian.

The year I met him, Binyavanga’s essay How To Write About Africa, satirising how European writers talk about our continent, was published in Granta. That essay reminded me of sitting around a campfire listening to him railing against those who brought Africa and Africans to disrepute with their writing. It became one of the most shared pieces of writing in that respected literary journal and brought him worldwide fame.

His 2011 memoir One Day I Will Write About This Place was his personal contribution to the canon. It was a memoir of his middle class childhood in his Nakuru hometown, his time as a student in South Africa and, after he return home, his travels across the world. The book, which was favourably reviewed, made it onto Oprah’s 2011 Summer Reading List . It was The Binj at his best, showing what English could become in the ownership of a writer with his singular talents.

Also memorable was I’m A Homosexual Mum which was published in Africa Is A Country in 2014 when Binyavanga came out as gay. At the time, several African countries including Nigeria and Uganda were either drafting or passing new laws that would make it very difficult for gay people to be who they were. Outing himself in this “lost chapter of his memoir” and following it up with a series of videos that outlined his views on what was happening to the social fabric of the continent was a revolutionary act.

While his own writing career was significant, his biggest contributions came from his ability to influence others with his larger-than-life personality, his compassion and his sheer determination. It started with the winnings from the Caine Prize, part of which he used to set up the Kwani Trust, jolting the literary establishment in Kenya and across the continent. Before he showed up, there was no Kenyan literature in the true sense of the word as, for a quarter of a century, the industry had been hobbled by anti-intellectual dictator Daniel Arap Moi. At the time the publishers association was a text book lobby that focused mainly on selling books to school children while onn the continent, there was a lull in African writing after the glory years of the Heinemann African Writers Series in the 1960s and 70s.

The appearance of Binyavanga Wainaina signified a shift not only in Kenya but across the continent. After many years of inactivity, the “literary desert” got a new lease of life with the publishing of the literary journal Kwani? (which in Kenyan slang means “so what?”). That journal gave us the next winner of the Caine Prize, Yvonne Adhiambo Owuor. In the years that followed, the journal introduced many writers to the African literary community like the aforementioned Yvonne Adhiambo Owuor, Parselelo Kantai, Muthoni Garland, Dayo Forster, Billy Kahora, Andia Kisia, and many more that became the foundation of the literary community that we all look up to today.

With Binyavanga editing Kwani?, he challenged the idea of what literature looked like, what it sounded like or even in what language it was expressed. Experimentation was the name of the game and nothing demonstrated this as well as his association with Ukoo Flani Mau Mau which many considered the biggest hip hop group to come out of Kenya. Led by the inspirational Kama (Kamau Ngigi), young artists who came mainly from Dandora could be spotted at the Kwani? offices huddled around an office assistant who was typing their poetry and other musings. These musings, written in Sheng—a constantly evolving urban language made up of Kiswahili, English and many other Kenyan languages—ended up in the journal much to the consternation and fury of those in academia who considered themselves the arbiters of good literature.

When not ensuring that their work was immortalised in his preferred literary medium, Binyavanga also influenced the young artists as the executive producer of the 2016 Dandora Burning album. He raised money for studio time as well as for living expenses for the artists who featured on the album like Juliani, Kitu Sewer, and a whole host of others.

It wasn’t just experimenting with language that became a trademark of the journal under The Binj. Stories refused to follow any familiar patterns, with fiction, nonfiction and poetry mixed in with everything one could imagine, being published in the smaller version Kwanini when the journal wasn’t in publication. For a long time, there had been a yearning for something new and exciting and the breath of fresh air that was Kwani? was welcomed by those who had been rejected elsewhere. There was now a new space in which to showcase their talent. The new methods were however not as welcomed by those in publishing and academia, with one commentator famously calling the Kwani? writers “literary gangsters”.

One of the methods that the Kwani?, team employed to share their work with the Nairobi audience was the Kwani Open Mic. At the beginning, the events were hosted away from the Central Business District at the Yaya Centre Café Crème and at Kengeles in Lavington. Writers would read from their current or forthcoming entries to the Kwani? Journal, the readings interspersed with poetry and music including from the aforementioned hip hop artists who were part of Ukoo Flani Mau Mau. The open mic events were a occasions where some of the city’s well-heeled residents met some of the least well off, continuing on a theme that had been prevalent in the wake of the 2002 “revolution” where everything was possible without Dictator Moi; even the rich could sit with the Dandora boys.

The open mic events eventually moved to Club Soundd which was located in the Central Business District. People coming to Club Soundd had convenient access to public transport until the late hours and so more people attended and stayed longer. The events became a spectacle, with the person on stage having to be extremely compelling with whatever poetry, prose, or rap they were presenting or else the audience would switch off and turn to conversation with whoever they were with. Showtime at the Apollo had the Sandman; Kwani Open Mic had a crowd that became easily bored and tuned out.

As the years went by, it became the stage on which many of the poets of the last decade and a half cut their teeth. It was an important space for the community of the arts to get together and meet every first Tuesday of the month. From these events, many relationships, both professional and personal, were forged that endure to this day. That open mic spawned what became Nairobi’s vibrant poetry scene.

Eventually, Binyavanga had to leave the day-to-day running of the organisation to other people as he took up writing gigs “in the abroad”. He was the writer-in-residence at Union College in Schenectady, New York, in 2007 and in 2008, at Williams College, in Massachusetts. He then became director of the Chinua Achebe Centre for African Writers and Artists at Bard College, New York state. While not physically present at the organisation, Binyavanga sat on the board, giving valuable energy and input.

The organisation he once led came up with the Kwani Manuscript Project in 2011 to identify the next big writing stars from the continent and it delivered the motherload. The shortlist from the hundreds submitted included the manuscripts of Ayobami Adebayo’s Stay with Me, Ayesha Harruna Attah’s Saturday’s People, Toni Kan’s The Carnivorous City, Jennifer Nansubuga Makumbi’s The Kintu Saga, and Saah Millimono’s One Day I Will Write About This War. The Kwani? Manuscript Prize was ultimately won by Jennifer Nansubuga Makumbi, arguably the biggest starin Ugandan writing today.

Binyavanga was involved in other projects with varying degrees of success. In 2010, he led a team of writers in the Pilgrimages project where 14 African writers travelled to 13 African cities and to one city in Brazil to explore the complexities of disparate urban landscapes. From this experience, the writers were to create 14 works of non-fiction about their trips, capturing each city against the backdrop of Africa’s first World Cup. In the list of writers were Chris Abani, Doreen Baingana, Uzodinma Iweala, Alain Mabanckou, and Yvonne Adhiambo Owuor. The much-hyped works never saw the light of day; even the charismatic Kenyan couldn’t always deliver on the hype.

The Binj did deliver on many other occasions though. One of these was the Hay Festival/World Book Capital Africa39 list, a project to identify the writers, under 40 years of age, most likely to influence African writing in the future. That project, for which Binyavanga did most of the initial research, gave us a list of writers who would theoretically influence African writing in the future. Many on that list like Chimamanda Ngozi Adichie, Lola Shoneyin, Abubakar Adam Ibrahim, Shadreck Chikoti, Novuyo Rosa Tshuma, and Zukiswa Wanner continue to live up to its premise. Binyavanga was also the biggest supporter of the 24 Nairobi book project which showcased Nairobi as a modern African city through the eyes of its own photographers.

Away from his hits and misses, Binyavanga was plagued by illness in the last few years of his life, suffering a major stroke in 2015 from which he never truly recovered. He announced that he was HIV positive in 2016 and battled with his body until it all ended on the evening of May 21, 2019.

There were two Binyavanga Wainainas; the man before and the man after the 2015 stroke. After he recovered, Binya as I knew him, was not the the same force of nature that he had been. The man who was clumsy in an endearing sort of way was now having that clumsiness seep into all of his life, and it showed. He spent many hours on social media sharing whatever he was thinking and doing while getting into unnecessary virtual battles with perceived or real enemies.

The Binyavanga I wanted to remember was The Binj of before 2015 who showed up one day and changed the game by sheer force of will. I remember meeting him two weeks after being hired as an editor at the Star newspaper in Nairobi in 2011 and was invited to his birthday party where we chatted and he encouraged me, reminding me just how important the work that I did was. This coming from him was a boost that drove me for a long time. I knew that, being in an influential space, I had to ensure that the literary arts occupied their place of honour in Kenya.

We met on and off over the next few years until he was hospitalised by illness. His last words to me were, “You’ve grown a beard”. I laughed and said, “Yes”. They were the last words we shared.

The last time he was at my house, he took a nap in my living room then woke up and dominated the conversation at the smoking area at the backyard. I could tell that he could be a bit frustrated with his speech but he still held his own on in a wide variety of topics. That night showed me the best and the not-so-great of the great man. Being down because of a physical challenge but still coming to the conversation, opening with his signature, “you knowwwww…”

Thank you Binya. You saved me, and many like me.

Rest in Peace Binya. Rest in Power.

You can find a gallery of Binyavanga Wainaina’s writing at PlanetBinya.org.

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Reflections

The Capture of Kabuga Frees Me to Hope Again

A Kenyan investigative journalist reflects on the capture of a genocidaire in Paris after 26 years on the run and its significance to the families of the victims left in his wake.

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The Capture of Kabuga, Frees Me to Hope Again
Photo: US State Dept.
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May 16th, 2020 1:43 pm

News of the arrest in Paris, France of Felicien Kabuga, the man long accused of funding the genocide against the Tutsi in Rwanda 26 years ago, has now reached a one-bedroom house in Pangani estate, Nakuru, Kenya. Josephat Gichuki, the tenant in this threadbare home, calls me to ask if I have heard the news. We talk now and again, our conversations mostly prompted by the slightest of wisps of news about Rwanda’s octogenarian outlaw. Today I can hear excitement in his voice. I ask to interview him on his thoughts and call back eight minutes later.

“I am very, very happy. This is important to me because there is no office I have not gone to seeking justice”, he says. Josephat has cause to be happy. His younger brother, Kenyan journalist William Munuhe was murdered hours before he was set to lead Kenyan and US authorities to Felicien, Kabuga on January 16th 2003. Kenyan Police first claimed that he had killed himself by lighting a charcoal burner and inhaling carbon monoxide fumes. Yet the evidence found in his Karen home told a completely different story.

Josephat has been searching for the truth for the last 17 years. Just like that, he very possibly could get the closure he has sought for close to two decades. Pushing for the Kenyan government to provide him with the answers his family needed hasn’t been good for the Gichukis. His father passed away in 2018. Gichuki says that his father was “distraught” that he “struggled so hard to raise a child only to see him killed” and no one to answer for it. “Heartbreak killed my father”, he says. Almost as if his mouth was working on muscle memory, he fires off nearly every attempt he has made to get a response from the government, as well as every missed opportunity.

“[Former President] Kibaki was a guest of the Rwanda government in 2004. We expected him to say something. He didn’t. In 2014 at the 20th commemoration of the genocide, [President] Uhuru was a guest of the Rwanda government. We expected him to say something. He didn’t”.

Neither one of us would be surprised by this. The Kenyan government has long denied any knowledge about the whereabouts of Felicien Kabuga and the crimes that have been linked to him. The day of his capture doesn’t seem to inspire any volunteering of information either. “He isn’t our criminal”, I can almost hear some local public relations spin doctor say. Would Kabuga’s arrest matter to a population whose median age is 19 anyway? It should, in the way that all life-altering events do matter.

May 16th, 1994

A situation report issued daily by the United Nations Mission in Rwanda (UNAMIR) rattles off statistics on food, water and fuel rations, a rundown of the fighting between the RPF (Rwandese Patriotic Front) and the RGF (Rwandese Government Forces) on this day. Fighting between current President Paul Kagame’s forces (RPF) and government troops was focused in the north of the country and in Kigali, the small nation’s capital. Journalists had visited various refugee camps to look into distribution of food rations. A meeting brokered to discuss a ceasefire took place at the Hotel Diplomat. The RPF didn’t send any representatives. It makes for a mundane reading of the facts about one of the worst tragedies to have ever taken place on the face of the earth. Yet every detail is important. This one line sticks out:

“HA (Humanitarian activities) team held a meeting with the OPS (operations) officer of the Gendarmerie, GSO II of the RGF and representative of the Interahamwe and the militia, concerning the evacuation of orphans from Giimba and Gitega. Numerous problems were posed regarding the evacuation of orphans”.

This statement meant two things: first, that any humanitarian aid organisation working in Rwanda at the time had to work with the approval of the Rwanda government. That is normal. Secondly, a representative of the Interahamwe, a brutal, bloodthirsty militia responsible for the murder of hundreds of thousands of Tutsis and moderate Hutus was also at the table. That should strike out any doubts of how central it was as a player in the civil war.

26 years later, in the middle of the second month of Rwanda’s Kwibuka commemorations, it also spotlights how important the arrest of the Interahamwe’s chief benefactor Felicien Kabuga is bringing the arc of history that much closer to the endgame; bending it towards justice. Kabuga bought hundreds of thousands of machetes that were given to these men. He owned media houses that trumpeted the “cut down the tall trees” narratives that captured a misled public’s imagination that their brothers and sisters were actually vermin. He was at the heart of the plans to eliminate more than 20 per cent of Rwanda’s population. He was a rich man whose money bought him 26 years of freedom – in Kenya, the Democratic Republic of Congo and France.

Few people have walked the earth freely after committing the crimes that he is accused of. Many of the main actors in the holocaust were arrested, tried and hung. Dictators responsible for bringing untold suffering to their citizens have risen and fallen in the time since Felicien Kabuga escaped imminent capture (and possibly a similar fate) by the RPF in the early days of June 1994, starting a 26-year life on the run that ended on May 16th 2020.

Kabuga traveled to Switzerland first, where he was denied entry, before coming to Kenya. Here, he was received with open arms. He and his family bought properties in Kilimani, owned fancy cars and lived quiet lives between 1994 and 1997. His children went to school here. He registered his businesses here and was well on the way to gaining a foothold in the Kenya-Rwanda logistics industry when he was arrested and jailed at the Kilimani Police Station. He was released at the behest of very senior Kenyans including a current Member of Parliament. He would go underground, and official accounts denying his presence in Kenya would begin.

May 16th, 2012

My wife and our two children had just moved into what would be our home for the next one month. I had been investigating Felicien Kabuga’s whereabouts and my sources and I had begun receiving threats. We were in the process of getting passports for our two young children just in case we would need to leave the country. We had already pulled them out of school and my wife had to take leave from work. Meanwhile, I needed to keep on the track of the story. I had turned in the first draft and it was decided that I would need to travel to Rwanda to deepen it.

I had picked up the thread of Kabuga’s sojourn in Kenya in December of 2011. I would read about the man whose money and beliefs sowed bitterness in the hearts of his countrymen through his radio station, Radio Télévision Libre des Mille Collines in the years before the start of the genocide. I visited Kigali Prison to speak to a woman who worked for Kabuga at RTLM as Rwanda commemorated 18 years since Kabuga and senior Rwandan government officials plotted a genocide.

I pored over documents linking Kenyan military officers to a cabal of Kabuga’s protectors in Kenya. I interviewed former senior government officials in confidence about the man’s whereabouts. I read books about the genocide, spoke to foreign correspondents and senior Kenyan journalists who had covered the genocide. I spoke to genocide survivors, broke bread with young Kenyans working in Rwanda and watched in horror news of a helicopter crash that would kill, among others, Kenya’s internal security minister, George Saitoti. I had planned to interview Saitoti when I got back to Kenya on the subject of Kabuga. I chased leads that led nowhere, and received some that opened up even more information about what Kabuga was up to while in Kenya.

I also interviewed the former Prosecutor General of Rwanda, Martin Ngoga, about Kabuga’s whereabouts. Earlier in the year I had received a photograph of a man who my sources claimed was Kabuga. I showed it to Ngoga, as well as to the lady I interviewed in Kigali Prison, and to a doctor who it was claimed had treated Kabuga in Nakuru, among other people. With the exception of the doctor (who passed away weeks after my documentary aired), everyone else was agreed on the identity of the man in the photo. It was the photo that would cast doubt on a story I had toiled so long to tell.

The man in this photo was produced at a press conference addressed by former Kenya Police Spokesman Eric Kiraithe. Daniel Ngera, a businessman from Isiolo, had been forced into the frame by what Kiraithe called shoddy journalism on my part. I couldn’t respond because I wasn’t there to do so. My wife, our children and I had left the country the Friday before the story ran, and were just settling into life on the run. My heart sank and my stomach turned. I could never have imagined that an error on my part would serve as a distraction from the existing facts about one of Rwanda’s most dangerous men.

The month that followed was one of the darkest in my life. I spent it fighting anxiety attacks. Would I have a job to come back to? My wife had already lost her job because she couldn’t explain in detail why she had to be away from work for three months. All through this, I was trying to reassure my wife that everything would be alright. To be honest, she did most of the reassuring.

Fortunately, I had a boss—Linus Kaikai—who stood by me, and (I hope) believed in the integrity of my intentions and the rigour I had applied to the story. I will always regret having exposed Mr Ngera, a man I had never met, to that kind of ridicule—even if I hadn’t set out to do so, much less plot to pass him off as a genocidaire. Yet for all the efforts that my team and I made, or the shame that Mr Ngera was exposed to or the anxious days and weeks that followed, this was the least important part of the story of Kabuga’s life as a fugitive.

Kabuga’s freedom, enabled by people in different countries across the world, was a slap in the face of every Rwandese citizen; those who lost lives during the genocide, those who have endured life without loved ones, even those who were brought to justice years before he will see the inside of a courtroom. The soil that turned red and the rivers in which bodies floated, the churches that were turned into slaughterhouses, all of the history that heaves with the weight of this dark chapter deserves a twist like this one. The hilltops from where the cries of the innocent rang out 26 years ago should hear news of Kabuga’s capture loudly beamed.

Back to May 16th, 2020

My day draws to a close with a call from my mother. She called to say she’d seen the news about Kabuga’s arrest, and that she was proud of me for playing my part in bringing to justice an evil man. “You may not have succeeded, but you did your best—and I feel vindicated on your behalf”. Those words wrung out a bitterness I’ve carried for eight years because of how my attempt to find a bad man ended. If only for tonight, I feel a lightness I haven’t felt whenever I have thought about Kabuga. Earlier, Josephat had ended our call with the same note of hope that he had had for answers 17 years ago. Maybe the request for a public inquest into his brother’s murder will be heeded now that the chief suspect in that murder is behind bars. Maybe not. All he and his family have wanted is justice. Josephat was 33 years old when his younger brother William was murdered because some people in Kenya chose to stand on the side of a butcher than with the millions for whom Kabuga’s crimes can never be fully atoned. His hope may have wavered many a time, but on this day, May 16th 2020, his ageing eyes opened to see the day when an ageing criminal’s luck ran out. The end of Felicien Kabuga’s freedom has freed Josephat and I to nurse the hope that justice does not have a sell-by-date. I know we must nurse this flame with care and not shout too loudly, lest we extinguish it before we have fought the many other battles ahead of us. Hope, it seems, may actually spring eternal.

Who’d have thought it?

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