When the next great writer comes knocking

By the time you read this, nerves will be rising at the Sarit Centre Expo in Westlands, Nairobi. This anxiety will not be born of animosity, but anticipation among publishers, literary editors and authors over who among the three shortlisted for the Jomo Kenyatta Prize for Literature will take the prize. We will grace the closing ceremony at the Sarit Expo Centre to witness that crowning moment, pun fully intended.

Kenya Publishers Association CEO James Odhiambo recently released the shortlist for the prize, which returns after a two-year hiatus caused by funding challenges. The three contenders in the English Adult category are Abenea Ndago, whose Nandi Bear is published by Nsemia Inc. Publishers, Ken N. Kamoche, whose Clan of Warriors is published by East African Educational Publishers and Charles Chanchori, whose Old Money is published by Oxford University Press (East Africa). The winner receives Sh150,000.

The last winner in this category was Ngumi Kibera, whose The Gambler, published by Oxford University Press East Africa, won in 2024. Kibera has just released another self-published novel, The Hitman, but which we shall review another day. This year, the English Adult category is the only one being contested because the other categories received too few entries for a sufficiently competitive judging process.

The Wahome Mutahi Literary Prize has also been deferred this year. It was not awarded in 2024 because no submission met the required standard. Named after the celebrated humourist and Whispers columnist who died in 2003, it is also administered by KPA and is ordinarily awarded in alternate years to the Jomo Kenyatta Prize.

Of course, the literary prize will not be the only award at the 27th edition of NIBF, which has been from Wednesday under the theme Read. Think. Lead. Besides the exhibitions, book launches, author engagements, children’s activities, workshops, rights trading and matchmaking, this year’s honours also include Hall of Fame recognition for Raila Odinga, veteran publisher Malkiat Singh and librarian Lily Nyariki.

So, stands, themes and history aside, it is on the Jomo Kenyatta Prize, the Wahome Mutahi Prize and other awards recognising literary talent that I want to dwell.

Kenya is a literary powerhouse in Africa. Some of the finest writers from the continent have come from here, while writers from elsewhere in Africa have been discovered, nurtured and published here.

Think of the literary icons of yore who are no longer with us, Ngũgĩ wa Thiong’o, Grace Ogot, Marjorie Oludhe Macgoye, Margaret Ogola, Binyavanga Wainaina, Ken Walibora, Wahome Mutahi, Micere Githae Mugo, Francis Imbuga and Asenath Bole Odaga. There is, therefore, an urgent need to nurture the literary greats of tomorrow.

Unfortunately, while one must thank the organisers of existing literary awards, it is saddening to see some disappear or struggle for continuity. The Burt Award for African Young Adult Literature, for instance, is no longer a Kenyan award, while other initiatives have struggled to achieve the longevity writers need. This is why one expects both government and non-governmental organisations to support literary talent.

Awards are great at bolstering creativity. Look at the Caine Prize for African Writing. Since 2000, it has championed writers from across the continent and its diaspora. Its roll of honour includes Kenyans Binyavanga Wainaina, Yvonne Adhiambo Owuor, Okwiri Oduor and Makena Onjerika. It says more than 300 writers have been championed and 10 winners have gone on to publish debut novels. The Booker Prize says its winner and shortlisted authors gain global readership and increased book sales.

True, many private companies channel their corporate social responsibility into social and cultural initiatives such as sports and environmental action. But there seems to be little attention to nurturing literary creativity. Yet a strong literary ecosystem creates work for editors, illustrators, designers, translators, booksellers, printers and publicists. It creates intellectual property that can travel across borders and gives young people models of creative work.

Allow me to say this. Most people think that cultural activities such as promoting literary talent are a drain on national or private resources. Far from it. A novel, collection of short stories or play published in Kenya in Kiswahili can become a set book here or elsewhere. It can fetch good money for the author and publisher and may be licensed for translation or distribution elsewhere, bringing foreign exchange and attention to Kenyan literature. A literary success can also create opportunities in festivals, adaptation, translation and rights sales.

Foundations established by private companies and prominent individuals could work with KPA to build structured programmes for literary talent. They could commission literary agencies or individual consultants to develop concept papers, identify emerging writers, design fellowships and mentorships and establish even more impactful annual prizes. The support need not always be a cheque. Residencies, editorial development, translation support and international exposure matter too.

Imagine, too, what might have happened had Ngũgĩ wa Thiong’o won the Nobel Prize for Literature. He was repeatedly tipped for the prize and was a favourite in several years. A Nobel win would have generated enormous publicity for Kenya and brought another spotlight to Kenyan literature. It would also have been a moment of national honour.

As the nail-biting moments get cranked up to find out who will pocket the Sh150,000 Jomo Kenyatta Prize bounty, imagine if that figure were Sh1 million or even more. History suggests that substantial prizes can attract attention, readership and applications.

The Caine Prize offers £10,000 to its winner, while the Booker offers £50,000 and £2,500 to each shortlisted author. Money is not the only reason people write, of course. But neither should we pretend that serious writers do not need economic recognition.

What is more, Kenyan writers have already won continental and global literary awards. Deepening efforts to spot that talent locally could create a stronger landing area for even bigger recognition, including the Pulitzer and Nobel prizes.

For, as they say in Kiswahili, mcheza kwao hutunzwa, meaning the one who performs in their own home is cared for and supported by their own people. It is an apt lesson for a country that has produced so many writers and has perhaps not done enough to ensure that the next great ones are seen before the rest of the world discovers them.