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Betrayal in the City by Francis D. The Bikoroa Plays by J. Clark University Press, Nigeria , Nigeria. Bomblast or Breakfast? Obii J. Botsotso poetry, short fiction, essays, photographs and drawings edited by Botsotso Botsotso Publishing , South Africa. Award Sale. Drinking from the Cosmic Gourd by Francis B. Drumbeats of Black Africa edited by O. Charles Okwelume Spectrum Books , Nigeria. Eighteenpence by R. Obeng Sub-Saharan Publishers , Ghana.

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Foundling's Island by P. Anderson uHlanga Press , South Africa. Green Rape by Peter W. Now to everyone who accused this piece of crying wolf, and is urging Farafina to fight, I say I think this is a good way to fight. Now that we have read it and are talking about it, someone will tell someone and someone will provide a solution that will work. The solution requires collective effort and I say kudos to Farafina for realising that and calling us to the village square to add our minds to the pot so we can together brew the antidote to the lethal poison that piracy is.

One idea is sure to work out of the pile we collect. I remembered being introduced to reading at Primary 3 through pacesetters and since then there is no going back. I weep for this generation. What exactly is working in Nigeria?

Oral Literature in Africa - Prose Narratives - Open Book Publishers

Where is our pride?. Do we still have compassion? How and where did we miss it? My advice is simple; Do a massive awareness and publicity on where The Accredited places your books can be bought. Responsible and compassionate Nigerians will not knowingly patronise pirates. You shall not die but live. The music industry was and still is besieged with piracy but they are not sitting down crying wolf, they are fighting hard against piracy, what is the writing art doing to fight piracy?

Has there been a body like P-MAN of the music industry, video and licence board of movie industry, set up for writing? Is there an umbrella of writers where suggestions could be made and foot soldiers created to tackle issues? Farafina, the hope of every established and upcoming author in Nigeria must not die, writing must not die, the voice of creative nigerians must not die. I must agonise with Farafina I will tell what I must hide Do we have government? What are there offering? I mean to Publishers. I am sorry to ask the bitter truth questions, I reserve the questions back as truth is bitter and is from books there are told.

Yes you know; In her our hope lives In her there is our future In her our dream comes true. She is the charity home The home of less priviledged She is maker of creators We owe much to her. Mama Farafina! You must not DIE Who will give us breast? Farafina must not Die. If anything good has come out of all this it is that our plight has inspired poetry. We are honoured. First time writer here, been looking online for a publishing house.

How good is farafina? Are they in the south south? Delta state to be precise. My book Nigeria, love and other drugs comes in two parts, first part is historical; of Nigeria from , on past the lording over us by the royal Niger company, establishing of protectorates to almagamation and later independence up till To quicken literacy in Nigeria, shall we encourage each state to establish a state-sponsored publishing house?


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You were one of those calling for total revolution knowing fully well that revolution was war. Please stay alive and help fight the invaders ie the Pirates , the Chinese and even our self-serving governments. We writers shall help by putting you on a strong life-support, so that you will not die. They should intensify effort to utilize the cooperation of pirates and millionaire business men in marketing of the books.

Farafina cannot die If it does then what will book enthusiats in Nigeria read? Foreign novels? Farafina must not die If it does then what does the future hold for young aspiring authors who are yearning to be heard,and who have hope that they will be heard,not just by their locality but by the world because of a platform like Farafina? Farafina should not die If it does,it would be like the days of gloom before Adichie,when it seemed like aspiring to become an author was a futile dream,but Adichie gives us hope through Farafina. Will Nigeria also take that from us? This fragile but strong hope?

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Farafina is a great publisher,but doing any kind of business in nigeria today comes with challenges so publishing is being dealt its own share of challeges. I have 2 points to make I believe the business of publishing should not take the art with it into the abyss.

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Farafina does not eat manuscripts she? Great writing, but what to do?

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Is this a call for arms? Farafina means a lot to me, and to many other Nigerians so if you are seeking innovative solutions, pray….


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Some writers are so intimidating but inspiring. Nice one! Thank you. Some beautiful writing, held my breath from start to finish. This is so disheartening. Trust me, we will! This the reality of the country we live in. I think Farafina has done a fantastic job, they made me take an interest in Nigerian literature and I truly wish something gets done. Our government does not but steal and cheat.

They do not protect our borders, or our jobs. Most businesses now import foreigners into the country and who regulates this? Same with all the pirated items being imported into the country. This article is a wake up call, we who enjoy Farafina books should be conscious of where you buy them. I think Farafina should also endorse certain places where these books should only be purchased. Something must be done. Where there is a will, there is a way! Questions about the circumstances in which the narrations take place, their purpose and tone, the type of narrator and audience, the publicity or secrecy of the event, and, finally, even the style of narration may be more crucial than questions about content and characters.

Unfortunately it is precisely about these former factors that we are often least well informed: subject-matter is so much more easily observed than the more significant and more subtle aspects of narrations.

We know, for instance, of the many aetiological tales or of those including references to certain supernatural beings or events. Indeed, all we do know about the contextual aspect leads to the impression that these are probably ordinary stories, not authoritative myths.

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The point is that we cannot decide by subject alone, we must know about context. This emerges partly from the local terminologies which, in East, South, and Central Africa, seldom have a word to cover the literary formulation of these beliefs. The published narratives apparently relating to religious phenomena seem in the cases where they are not just ordinary stories to be elicited narratives: it is not clear that they would have been expressed in narrative and literary form, were it not for the request of the collector.

If, however, we knew more about the contexts and circumstances of narration in general, this assessment might in fact turn out to be mistaken. But it is noticeable that it is particularly among those collectors who have had the closest knowledge of the peoples they are writing about that we find a telling absence of any reference to or inclusion of religious narratives, or even an explicit denial that these play any significant role at all in the local oral literature. The Bushmen may perhaps provide one instance of this, and the Pygmies or some of the Nilotic or West African peoples may provide others.