poetrypotion 2008

2008 2007|01

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www.poetrypotion.com EDITED BY ZAMANTUNGWA.PUBLISHED BY ZAMANTUNGWA MEDIA CC Š all rights reserved. no part of this publication may be reproduced, stored in a retrievable system or transmitted in any form or by any means, electronic, photocopying or otherwise without prior written permission of the copyright owners: the poets and zamantungwa media cc. all poets retain the rights to their work. any copying or sharing of this work for financial gain is infringement of copyright and will be procecuted according to the law.

ikonikafrika

BeyoncĂŠ's got nothing on you honey restless soul, living on a jagged edge well-sculptured cleavage an artistic inspiration unimaginable distress, worn like a badge missing your stylish, provocative presence, a damnation beyoncĂŠ's got nothing on u honey even in her wildest, wettest fantasies u sell the sizzle, not the stake, miss universe like halle berry, u are right on the money heads turn and twist when u enter a room nipples hard, sexy breasts jutting out like pyramids someone like u comes once in a lifetime, like an heirloom luv cork-screwing off your heart like lazer-beans, I memorize ur digits even after u left, my love for you kept growing showing a connection that leaves us both wanting.

For joy, On Your Birthday

Š Nyakale Mokgosi

featured poem

One Night Stand Tendrils of smoke swirl in the air Fade slowly They lie post coital Warm Cold blue TV lights flicker He inhales the shampoo scent of her hair Of a memory that could dissolve this delicate haze His eyes close Recollecting those of another as His lips caress her forehead She knows his lips are haunted but Her back curls Near perfect Into the spoon of his body Her eyes close in a fantasy Of a love she wishes she felt for him His comfort curls around her like a familiar blanket Long gone, never forgotten She closes her eyes, pretends This is home That his gentle kiss is love Her fingers intercept the Misplaced longings of his hands He accepts the false poetry of Her warm caress He inhales the thick smoky rings of Her secret wish Intoxicated His feet find her cold ones Warmed by the blanket of their illusions Prolonging the one night stand

Š Chisanga Kabinga

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poetry seen

Jacana has published two poetry books from South Afrikan born poets that are not based in Europe. Gardening in the Dark by Denis Hirson was first published in French in 2007 Gardening in the Dark

By Denis Hirson Review by Zamantungwa The title poem Gardening in the Dark starts with a quote 'Happiness has no father. No happiness ever learns from the one before, and it dies, without heirs. But sadness has a long tradition, passes from eye to eye, from heart to heart.'

This quote by Yehuda Amichai just about captures this anthology of poetry spanning the life of the Denis Hirson. The poem is dedicated to his father and like a record of history tells the tale of a distant relationship between father and son. This anthology, published by Jacana Media most explores the family relations when a fatherĂ­s political choices impact on the family. The sadness of knowing a parent and yet not really knowing him. Rose Beetle carries a tinge of fear and uncertainty as... '... he explained that why they had let him out so early: his motherĂ­s dogged efforts, and the French Embassy. I half listened, only wanting him to go away...

But when the man finally got up to leave, my father was even further away than before, the house twice as empty' HirsonĂ­s writing is quite prosaic exploring the mundane life between mother and son and father and son. '"Do you know where I come from?" she asks me.

I hang on tightly to the telephone "Well?" ...

"Well?" she repeats, the fiercely Breathes the answer against me: "Russia!"

Russia, where she has never been, where nothing is left of her banished family but worm-eaten bone; Russia, Place of the dead she now calls home.

Oh mother, mother, how far must I run before I find you?'

It is that simplicity that I quite liked as it didn't demand too much from me yet from time to time I found myself in experiencing

poetry seen

shoo-wah moments. Hirson's poetry is enjoyable and gives insight to another experience of family and growing up.

A Fold in the Map

By Isobel Dixon Review by Zamantungwa Isobel Dixon charts two journeys using her poetry in A Fold in the Map (published by Jacana Media, on the one hand, leaving the land for her birth and on the other the loss of her father. The poem Amanzi illustrates that journey back to the only place known as home and reacclimatising '... The lawns of Cambridge, emerald, manicured, this townĂ­s inhabitants secure in cosy, educated affluence and peace.

Days later, home, I see new boxy houses and a sign: Joe Slovo Township. And a shop, the Bright Life Store, with its own homemade

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logo praising Coke...'

It feels like the poet is torn between the two places. Another poem I liked is Gemini for the image-wrapped words that make your feel like the poet is talking about many decisions that she needs to make all at once. The Buried Butterfly on the other hand is dizzy with run-on sentences that make it difficult for the reader to be immersed in the language. But my favourite is Rapture 'The neon orange crane stoops broken-backed, a giant fishing-rod poised high above this murky river.'

Get the book and read it yourself to discover why I like it so much.

To get a free copy of this book, send an email to . include the title of the book.

Make sure to

remembering

E'skia Mphahlele 17 December 1919 - 27 October 2008 Another bright light extinguished. E'skia Mphahlele crossed over to the ancestral realm on the 27th of October 2008. This esteemed intellectual was one of the last original writers of Drum magazine. Bab' Mphahlele was a wielder, breaker and maker of words as well as bringer and sharer of knowledge.

Ezekial E'skia Mphahlele was born in 1919 in Lebowakgomo. This great mind grew up herding cattle and went to author 18 books (from short stories, novels to essays and instructional material).

1975 Mphahlele wrote ĂŹIt is no use talking in the abstract about an Afrikan worldview based on traditional values, if at the same time we are content to live in a physical and human landscape created or determined by a European worldview.ĂŽ "Afrikans, let us find ourselves happening to events, instead of always responding to events happening to us." Es'kia Mphahlele - 1990 "I am an irrepressible teacher, and will teach anywhere I am invited to, as long as I am not asked to play the role of a token nigger."

Es'kia Mphahlele - 1988

remembering

9 John Matshikiza 26 November 1954 - 15 September 2008 A poet, actor, writer, activist... JOhn Matshikiza is one of our most profilic creative professionals. John Matshikiza was born in Sophiatown to world renown composer and jazz artists Todd Matshikiza.

John Matshikiza went into exile in 1961 after his father, then part of the legenderay production King Kong, went to London. He then came back to South Africa in 1990 following the release of Nelson Mandela.

John Matshikiza's contribution to society includes helping to form the cultural wing of the ANC, Mayibuye. He also wrote for theatre, film and television and directed dramas and doccies. He also wrote columns for Business Day and Weekender.

We know him mostly as an actor in films like ThereĂ­s a Zulu on my Stoep, The Air Up Ther and Hijack Stories.

textual thought

Celebrating Kwanza instead of Christ mass by zamantungwa

So manje nay' indaba... It is common knowledge the celebration of Christ mass came to Afrika with the missionaries. When the missionaries brought Christianity to Afrika they also brought the holiday (holy day) that were significant to the religion. While the missionaries believed that Afrikans were pagans ñ without belief ñ we all know that that wasn't the truth.

Many consciously celebrate Christ mass and many more just go through the motions because that is what society dictates ñ that is what the capitalist world demands.

Many people may wonder what this kwanza thing is.

Is it real or is it just a passing fad?

Where does it come from?

The truth is kwanza is a made up holiday, very young compared to others having been established in 1966 by one Dr Maulana Karenga. It is an adaptation of other similar Afrikan celebrations. Initially, Karenga intended it to be the alternative to Christ mass for Afrikan Americans to celebrate ìrather than simply imitate the practice of the dominant societyî.

He has since said that kwanza is not a reaction or alternative to anything.

Many have criticised this celebration as racist or as anti-Christ mass.

Some even claim that the principles of kwanza go against the virtues of Christianity. Many are sceptical because of the founder's checkered past.

But I want you to make up your own mind. Make up your own mind whether you will celebrate it together with Christ mass (because you are Christian) or you will choose to celebrate only kwanza or you will do something else completely. Make up your own mind. Indeed, making up ones own mind is part of the second principle of kwanza: self-determination.

Let's think about this a moment... Yes, kwanza is a made up holiday, but then aren't all holidays made up? To some or other degree someone decided that a certain day should be made official to commemorate, celebrate or observe a particular occurrence be it the birth or death of someone significant or a day something big that happened like a massacre or a big win. Think about it, many South Afrikan holidays arenít that old and they replaced other made up holidays. Even religious events are made up. The thing about all holidays (be they holy or not) is that they signify something that is important to a community and nation - they are often based on something real. Christ mass as we all know isnít the exact day of the birth of Christ yet is accepted. So why would celebrating kwanza not be acceptable?

textual thought One of the things that the detractors have to say against kwanza is that it is made up. Well, as already mentioned even the creator acknowledges that it is made up. If you look at the principles of Kwanza you'll find that it has a lot of what when I sum up into one word I call ubuntu.

Others are wary of kwanza because they say it has Marxist principles.

Clearly these would be those that are pro-capitalism. The Afrikan way is the way of communal living while capitalist principles are biased towards the individual. Yes, that new English word that only South Afrikans know and all Afrikans understand. Some say that it goes against Christian virtues but I'd like to understand since when has Christianity been against unity, faith, purpose, self-determination, cooperative economics, collective work & responsibility and creativity. Ok, maybe not in those express terms but really is Christianity against community, family and culture? Think about that for a moment... and I hope the answer isn't yes!

Maulana Karenga is a man with a rather shady background and that has dented his credibility and has inevitably cast a shadow over the beauty of kwanza.

Overlook his shady past and focus solely on this concept 単 Kwanza. Kwanza comes from Kiswahili 'matunda ya kwanza' meaning the first fruits. Karenga added an extra 'a' making it Kwanzaa. First fruits are often celebrated in various Afrikan communities at the first harvest. Many Afrikan cultures like the Zulus and Swatis. The Zulu kingdom celebrates Umkhozi wokweshwama (the first fruits celebration) in early December. The Jews celebrate the first fruits in a celebration called Yom HaBikkurim on the last day of the Feast of Unleavened Bread (Hag HaMatzah). On this first fruits evening they take for example, the first fruit, the first born animal, the first sheath of barley to the Temple as a symbol for Jesus being the first of the First Fruits (1 Cor 15:23) - this is part of the Pesach.

When Karenga started the holiday he said that he wanted to 'give a black alternative to the existing holiday and give blacks an opportunity to celebrate themselves and history, rather than simply imitate the practice of the dominant culture.' In 2005 he gave further reasons in a video that is available on You Tube "...Reaffirm the rootedness in Afrikan culture: due to the holocaust and enslavement we were lifted out of our own history and made a footnote and forgotten casualty in European history. The struggle we are waging is to return to our history and to use it to enrich and expand our lives Give us a time when we as Afrikan people all over the world could come together and reaffirm the bonds between us and meditate on the meaning and responsibility or being an Afrikan in the world and certainly it has flowered because of that.

Introduce and reinforce the importance of Afrikan culture and Afrikan communitarian values 単 values that stress and strengthen family and community and culture. These are our strength and the hub and hinge on which the holiday turn the nguzo saba..."

Perhaps kwanza is the only thing of value that Karenga has given to society.

Kwanza is about family, community and culture. These are universal values that can be found in most, if not all, cultures in the world.

It is up to you whether Kwanza is an addition to your festive season celebrations or an alternative. Certainly, with Christ mass being over commercialised and almost void of its original meaning kwanza offers a more meaningful experience. Kwanza is about the gathering of family 単 and not just traditional family 単 and community. It focuses on reaffirming bonds with those close to you. It is a time of thanksgiving as one year ends and another begins, a time to reflect on your history and look forward to your future. Kwanza celebration is a time of sharing, food is shared, inspiring thoughts and knowledge is shared. The gifts that are given during the celebration are not flashy, commercial, fashionable gifts but rather gifts that the giver has personally made - be it a card, a toy, inspirational

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words and stories. Kwanza is symbolical of a simple, cultured and meaningful life that we can all lead.

The principles of kwanza are about building community.

Unity - be one and at peace with your family, community, nation and race.

Self-determination - Afrikans need to write their own story, take charge of their own legacy.

Collective Work and Responsibility - We are responsible for our each otherĂ­s being, for making our land a better place, ending the (ethnic, civil, political, economic) wars.

Cooperative Economics - support black business so that we can build a strong Afrikan economy; the Jews, Koreans, Chinese Indians all offer great examples of what this principle means.

Purpose - what legacy do you want to live behind?

Creativity - something we all know best but it also means thereĂ­s more than one way to deal with challenges.

Faith - whether you are religious or not this value is what will carry you through all highs and lows.

Now honestly, how can you say that this celebration, or rather the principles it espouses, are evil or racist or anti-religion. Anybody can take these principles to heart and set them in the context of their life.

The Kwanza principles can make a difference to our society. It makes no difference how many people observe the 7 days of Kwanza or even know what the principles are. What makes a difference is the positivity of the seven principles...

What do you think?

poetry

I Seek Truth I seek truth.

She escapes me.

I seek spaces To live my truth. I am Surrounded Imprisoned In boxes too small For my soul.

My words Squeeze and scramble Through dark cracks To emerge as perverted Half-truths Used as crutches For bigoted minds.

I seek love.

She eludes me Revealing Not emptiness but Discernment Between faith and fallacy I have found wisdom.

I am not lost I am not yours I am not mine I just am.

Š

Liya Bona

poetry

Re bana ba motho Forget masika Re bana ba motho O reelleetswe Sediba wa ko Sedibeng, Kwa ko Bodibe, Nnaka ga Mogale, Rangwane wa gago yo a neng a sa lala a sa nwa Chibuku.

Malome Tom, Kgotsa o ka mmitsa Ou Tom O ithaatheetse tlokwe Melomu mehibidu O nkgopotsa Mangwane Mojadi Kíya be kíya gopola Rakgadi Mogadi, Mogatsaíga Monyaise, Mokwadi wa lelapa la rona.

Kíya ipona gore ke mo gotsitse, Lerato lwa go kwala, Le la go boka, Le la go tlhama dipina, Oho, Mmino o ne, Tla re se ke ríya bua, Nka nna bosigo botlhe ke opela, Seo sone, Ke sekai se se ntshupetsang gore Ditoro tsa gago, Ke tsa me, Tsa me, Ke tsa gago Ga gona pharalogano, Pharalogano, ke ya leleme, Puo, E ntshupeetsa fela, Lefelo la gago la tsalo.

But everything else about you screams, Re bana ba motho

poetry

We are born of the same womb

(translation)

Forget relatives, We are all from the same womb.

You are related to Sediba, from Sedibeng, There by Bodibe, Younger sister to Mogale, Your uncle who would have never gone to bed without a quart of Chibuku.

Uncle Tom, Or you could just call him Oom Tom, He loves alcohol, His lips are always red!

He reminds me of Aunt Mojadi!

Hey! That reminds me of Aunt Mogadi, Wife to Monyaise, The writer in our family!

I can see that Iíve taken after him.

The love of writing And poetry And singing, Oh Donít even get me started on music, I could sing all night!

That shows me That your dreams are mine And my dreams are yours.

Thereís no difference!

The only difference is language And that just tells me where you were born.

But everything else about you screams, We are born of the same womb.

© Tshegofatso Monaisa

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q&a

Spier Poetry Exchange POETRY POTION: Who is Botsotso publishing?BOTSOTSO PUBLISHING: Botsotso publishing is a group of poets, writers, performers and visual artists-Ike Mboneni Wangu Muila, Allan Kolski Horwitz, Anna Varney(always willing to do layout & design for us).

PP: How long has the collective been publishing books?

BP: we have been together since 1994. it was a Botsotso Jestersí initiative to have a publishing platform for both established and new writers and poets. We started it as a four page insert in the then New Nation newspaper, which reached wider readership.

PP: What makes a collective like yours stay together for all these years?BP: Our collective has stayed together for all these years, because of our passion and commitment for literature PP: Why did you start publishing the journal?BP: After attending a lot of readings and performance activities, there arise a need to publish PP: How do you select what to publish?BP: We usually divide ourselves when editing. There would be people dealing with poetry, short stories, drama/theatre, visual arts/illustrations, reviews, languages and so forth. After a long period of editing we come together with our selections. We need something that is fresh and not rhetorical.

PP: fine BP: They

The latest journal includes photography, poetry, short stories and art, do you often mix the various disciplines, and why?We often mix the disciplines because they represent a body of art. complement one another in terms of variety.

PP: What are the challenges that you face in publishing poetry?

BP: Being certain that there will be a publication coming. There also lack of funding in South Africa, which makes it difficult for us to do it on a permanent basis. Its either a voluntary venture or people are paid on ad hoc basis, especially the technical part.

PP: How does Botsotso (the journal) contribute to the growth poets?

BP: We would not be that big headed and claim to contribute to the growth of poets. I believe it is the poets who contribute to the growth of Botsotso, because without contributions with a deep insight from poets and writers we cannot have a journal.

PP: Payment or royalties from published work?

BP: Its only when there is a contract signed between Botsotso and a contributors. This is only done if a person contributes in an anthology or a volume, but in Botsotso Magazine it only poets, writers and artists pouring their hearts to the readers. I would not call it exposure, like exploiters do.

PP: Botsotso Publishing also played a role in the 2007 Jozi Spoken Word Festival, why did you feel the need organize the festival?

BP: We did not really have a strictly Jozi Spoken Word Festival. We have Time of the Writer and Poetry Africa held in Durban, KZN. We also have Arts Alive and Urban Voices in Jozi, but not all poets or performers are given a platform. Overseas poets and performers are usually given first priority by the organizers(Iím not xenophobic in my observation) PP: What is the future of Botsotso Jesters and Botsotso Publishing?

BP: We hope to continue publishing both oral and written works in all South African languages. We still are determined to reach a wider readership and audience. This also includes running workshops to plough back to our community.

PP: And the Jozi Spoken Word FestivalÖ should we look forward to it this year?

BP: People should look forward to it. It will take place in August 2008

poetry seen

Fat Black Woman Sing review by Chisanga Kabinga

She was big, tough, proud, touted 'breasts so big you cannot cup them', had size nine feet, a penchant for women and cheese cake. And she was only the first of five black women on stage that night. The play was Fat Black Women Sing and it was packed with so many echoes of the joys and shames of the black women that I know, that I am.

This was Napo Masheane's play Fat Black Women Sing, a play that is part of the Flare project, an initiative supporting female theatre directors at the Actors' Centre. She adapted the work of poet Grace Nichols' The Fat Black Womanís Poems, and out of that was born her refreshing and inspiring play.

The theatre was small, intimate. To my horror, we sat in the front row. I issued out empty threats to no one in particular, thinking, 'those girls better not embarrass me or call me out just because I am so close to the stage.'

All that baseless anxiety was forgotten as those black women walked onto the stage. Their in-your-face-I-am-beautiful-deal-with-it attitude had me cheering, hooting and hollering back at them. I realised, as I saw those women tell about things that I can never discuss with a straight face (how to let go and let him just go down), that I do not see many women who are unapologetic about who they are.

The characters told their stories using music and poetry. They talked about their first sexual experiences, abuse, self-love, pleasuring one self, being 'overweight', pride, black men, secrets, shame, friendship, health, etc. They shared their personal anecdotes; one married character had never had oral sex or an orgasm, another had an on-going love affair with food, yet another had been told, ìI bet your pussy stinksî, by a black man ñ in public! And this was just a small part of the play.

The women sang like the divas they were, and the songs they played were songs that I recognised, songs that had at one time or another, been the soundtrack of my life.

I walked out, lifted, celebrated. And I was glad that I had brought by teenage sister with me. I hoped that that evening had cleared some cobwebs in her life, like it had in mine.

Chisanga Kabinga is a writer and director

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visual poetry

fong kong designs some of the best flyer/posters i've ever seen... love them!

poetry

Day 1 My Eyes burn as if never used before, everything white. White light!

What place is this? That my pupils' virgin too.

Q's with no A's Different but not phased.

Different but not staged.

Familiar face, familiar eyes, familiar stance!

Familiar yes. My first glance.

Fate it seems has allowed me this pleasure, This honour, this sight.

Of footsteps that passed by, before, with me, Stop dead right.

Not in front, nor the back, but by my side.

This Light I shall use as my guide.

This light that I shall forever in, confide.

My Eyes burn as if never used before, everything white. White light!

What place is this? That my pupils' virgin too.

Now I see all the colors and shapes my eyes remember.

Everything brand new, when I laid eyes on you.

Š Rick Thomas

poetry

Beat I have this beat in my head.

Unguided feet stomping in my head, Unguided feet, her toes he got, Beating stomping, Hot like lead.

His dance uncertain, he moves, he moves, angry!

His head feels like egg, Egg, egg, about to explode against lead about to crack, spew against egg.

His legs tired now!

His legs tiny, his, beat hard.

As if daddy help's in need.

Come now!

As if chased, as if dj tuned down trebble and double doubled base.

This beat, His feet, His legs, My egg, My head!

Š Rick Thomas

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poetry seen

Speak the Mind review by zamantungwa A general problem with poetry events, no matter how small or big, is that they always set a start time and donít keep to it. The real issue with this though isn't when the show stars but rather what it does to a poets performance. Poets prepare a set, often to a time limit given by the organisers. and as the show progresses you suddenly have organisers hissing off stage at poets telling them to cut their sets short. As someone who used to perform, I know how irritating and disrespectful that can be. It must be even worse to travel across countries and oceans only to perform two poems when you have prepared 5 to ten pieces. I hope that organisers can find a way to curb that for future events. One way to fix this would be to refrain from staging too many artists ñ quality versus quantity.

I had a hard time figuring out if some poets performed requested pieces or if they had chosen for themselves what to perform. It is rather uninspiring to hear the same poem that you heard a poet recite more that five years ago - is it an assumption that the audience wants to hear a popular poem or just a lack of creativity compounded by a writers' block?

Only the poet knows. It makes one wonder whether the poet doesnít write anymore or whether they just don't think the audience deserves a bit more effort than that. Rather disappointing was Kwani Experience's unplugged performance with Pops Mohammed. Now it started of well but really just broke down as it began to look like they hadnít had enough time for preparation... It tanked an evening that had ended well with Roger Bonair Agard.

With the disappointments spelled out here comes the best of the evening...

Whenever Bafana, industrial percussionist with Kwani, takes hold of the mic the audience is worked up into a frenzy and can't get enough. Bafana is truly a talent that needs to be supported and can't be lost. Pops Mohammed's kora and mbira skills are beautiful. This great artist's ability to work with all kinds of artists is truly inspiring. Collaboration is the only way for the arts to grow from strength to strength. Straight out of Zimbabwe came the immensely talented Cosmos' animated, emotiondriven performance and smooth tongued Outspoken. The two poets have very different styles of expression yet the content is positive, questioning, hopeful and interested in Afrika and the growth of the continent and the skill is sharp. Cosmos' wailing style had the audience enthralled, swinging high and low to every wail.. Outspoken's more urban hip hop influence with guitar accompaniment, on the other hand, had the audience bopping and chanting back . Bianca Williams' confidence and positive energy is always inspiring. Bianca sang, rapped and recited they audience, particularly the women,, into a higher state of mind. Imani Woomero from Kenya was sensual and softspoken however, it felt like we only heard the tip of a massive iceberg. I look forward to reading some of her work in the future.

Phillipa Yaa de Villiers had a very easy going, honest and amusing way of interacting with the audience which was very indicative of her word interpretation. Although she handled very issues of identity and social commentary she finds a light way to let the deep issues sink in. Ewok, straight out of Durban is, after Kgafelo oa Magogodi, probably one of the hardest working poets out there. As expected he brought great energy and intensity to the stage. Really owning the space to that short while and

poetry seen

leaving an indelible mark on all of our memories. Equally as energetic and commanding the audiences attention was Georgia Me. Her presence and boldness made for entertaining. Professor Pitika Ntuli's adeptness in various languages and styles of poetry took the audience out of the expected box. His poetry reflected his cultural and cultured side as well as his romantic side. Professor Ntuli's fluency in Zulu, Ndebele, Afrikaans, Swati and English certainly showed the rest of us a think twice about our lack of Linguistic finesse, the elders jesterlike performance carried weight.

The absolute highlight of the evening was Khoi Khonnexion. Creating natural sounds using found objects, indigenous instruments as well as contemporary instruments, the collective is trully amazing. They managed to take the audience and make it buy into the journey that they had decide to take it on. From the beginning of the performance, the audience sat enthralled and attentive 単 they had us entranced. I just wished that they had brought with them some on CD or in print to sell.

Poetry should inspire, provoke thought, move, enlighten... in performance poetry should also entertain. These poets know their craft and those that stage poetry need to work on their craft so that they can do the artists and the audience justice to.

I look forward to the next one

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poetry

Tapestries Tapestries of illussion down my foot path the further I go I'm finding it hard to breath finding it hard to see as I'm embracing and tracing my footsteps in the darkness, harnessed my beggars and daggers down my footpath still I anticipate a blessed day when I'll find enough courage to pray tapestries of illusion down my footpath as I anticipate when I will dive into my emotions reconnect with my love child and tell her that everything is going to be alright the day when I will no longer leave crimson trails of blood on paper when I will write beautiful words of silent screams of distant dreams of a better tomorrow that has reclaimed it's identity from a blood filled history...

Š Tshegofatso Maikutlo Sebitloane

poetry

If I If I sit and close my eyes I can still see you, feel you In the space above my head.

Turn you around And touch you, love you In my mind.

I can still have you If I close my eyes; If I live in this other sense I can still know you; Hold you close.

And without a doubt It is real and I know You will feel me, see me, Love me without words.

Š Mandy Mitchell

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q&a

Botsotso Publishing POETRY POTION: Who is Botsotso publishing?BOTSOTSO PUBLISHING: Botsotso publishing is a group of poets, writers, performers and visual artists-Ike Mboneni Wangu Muila, Allan Kolski Horwitz, Anna Varney(always willing to do layout & design for us).

PP: How long has the collective been publishing books?

BP: we have been together since 1994. it was a Botsotso Jestersí initiative to have a publishing platform for both established and new writers and poets.

We started it as a four page insert in the then New Nation newspaper, which reached wider readership.

PP: What makes a collective like yours stay together for all these years?BP: Our collective has stayed together for all these years, because of our passion and commitment for literature PP: Why did you start publishing the journal?BP: After attending a lot of readings and performance activities, there arise a need to publish PP: How do you select what to publish?BP: We usually divide ourselves when editing. There would be people dealing with poetry, short stories, drama/theatre, visual arts/illustrations, reviews, languages and so forth. After a long period of editing we come together with our selections. We need something that is fresh and not rhetorical.

PP: The latest journal includes photography, poetry, short stories and fine art, do you often mix the various disciplines, and why?BP: We often mix the disciplines because they represent a body of art. They complement one another in terms of variety.

PP: What are the challenges that you face in publishing poetry?

BP: Being certain that there will be a publication coming. There also lack of funding in South Africa, which makes it difficult for us to do it on a permanent basis. Its either a voluntary venture or people are paid on ad hoc basis, especially the technical part.

PP: How does Botsotso (the journal) contribute to the growth poets?

BP: We would not be that big headed and claim to contribute to the growth of poets. I believe it is the poets who contribute to the growth of Botsotso, because without contributions with a deep insight from poets and writers we cannot have a journal.

PP: Payment or royalties from published work?

BP: Its only when there is a contract signed between Botsotso and a contributors. This is only done if a person contributes in an anthology or a volume, but in Botsotso Magazine it only poets, writers and artists pouring their hearts to the readers. I would not call it exposure, like exploiters do.

PP: Botsotso Publishing also played a role in the 2007 Jozi Spoken Word Festival, why did you feel the need organize the festival?

BP: We did not really have a strictly Jozi Spoken Word Festival. We have Time of the Writer and Poetry Africa held in Durban, KZN. We also have Arts Alive and Urban Voices in Jozi, but not all poets or performers are given a platform. Overseas poets and performers are usually given first priority by the organizers(Iím not xenophobic in my observation) PP: What is the future of Botsotso Jesters and Botsotso Publishing?

BP: We hope to continue publishing both oral and written works in all South African languages. We still are determined to reach a wider readership and audience. This also includes running workshops to plough back to our community.

PP: And the Jozi Spoken Word FestivalÖ should we look forward to it this year?

BP: People should look forward to it. It will take place in August 2008

q&a BOTSOTSO TITLES Literary Journal BOTSOTSO

ISSN 15627632

Numbers 1-13

Poetry WE JIVE LIKE THIS ISBN 0-620-20282-3 Botsotso Jesters: Siphiwe ka Ngwenya, Isabella Motadinyane, Allan Kolski Horwitz, Ike Mboneni Muila, Anna Varney NO FREE SLEEPING Bila, Alan Finlay

ISBN

0-620-23094-0

Donald Parenzee, Vonani wa ka

DIRTY WASHING

ISBN

0-620-24873-4

Botsotso Jesters

5 ISBN 0-620-28306-8 Clinton du Plessis, Kobus Moolman, Gillian Schutte, Mphutlane wa Bofelo, Lionel Murcot PURPLE LIGHT MIRROR IN THE MUD Lionel Murcot

Compact disk

GOVA

ISBN

0-620-31395-1

GREETINGS EMSAWAWA

Botsotso Jesters

SOULFIRE EXPERIENCE

ISBN

0-620-34877-1

Botsotso Jesters and

Ike Mboneni Muila

Siphiwe ka Ngwenya

ISIS X ISBN 0-620-34878-X Elsbeth e, Sumeera Dawood, Lisemelo Tlale, Makhosazana Xaba, Elizabeth Trew, Myesha Jenkins, Arja Salafranca, Baitse Mokiti, Riana Wiechers, Bongekile Mbanjwa, Anna Varney SAVING WATER

ISBN

0-620-35444-5

Allan Kolski Horwitz

A PRIVATE PART

ISBN

0-620-37284-2

Lionel Murcot

FALLING FROM SLEEP

ISBN

0-620-37286-9

Mark Espin

Short Fiction UNITY IN FLIGHT ISBN 0-620-27234-1 Maropodi Mapalakanye, Peter Rule, Zachariah Rapola, Michael Vines, Phaswane Mpe, Allan Kolski Horwitz UN/COMMON GROUND

ISBN

0-620-29725-5

POST-TRAUMATIC ISBN 0-620-30500-2 Anthology featuring 22 writers JAIL BIRDS AND OTHERS ISBN CANDIDATE AND TOTEM

Allan Kolski Horwitz Editor: Chris van Wyk

0-620-33399-5

ISBN 0-620-37285-0

Muthal Naidoo Marcelle du Toit

Art MANUSCRIPT EXHIBITION 2000 ISBN

0-620-26434-9

Anna Varney

MANUSCRIPT EXHIBITION 2002 ISBN

0-620-27668-1

Anna Varney

27

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