Inside Photography: Lidudumalingani

by Lydia Kasese

South African writer Lidudumalingani is a person of extraordinary talent.  He was awarded the Caine Prize for his short story ‘Memories We Lost’ and the Miles Morland Foundation Scholarship in 2016, making him the first person to accomplish that fete in a single year; something that other writers can only wish. Apart from writing and film-making, Lidudumalingani also has an eye for photography and he sometimes merges these art forms to tell incredible stories.
In this interview, he talks to Enkare Review’s Nonfiction editor, Lydia Kasese, about his photography on Enkare Review, his writing, and things in-between.

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Inside Poetry: Michael Onsando: The Making of a Canon

by Alexis Teyie

Michael Onsando is a jazz writer, and co-founder of Brainstorm Kenya. Some of his work is available on his site, Unlike Myself. Enkare Review has previously published Onsando’s A Movement on Loneliness. Alexis Teyie, Enkare Review’s poetry editor, met with Michael on a quiet Sunday in February to talk about his most recent work published with Enkare Review, The Making of a Canon, his creative philosophy, and quite a few things in between.

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Inside Fiction: ‘Squad’ by Linda Musita

by Carey Baraka

Linda Musita
Linda Musita

Linda Musita talked to Enkare editor, Carey Baraka about her short story, Squad, on Enkare Review this week, her writing process and feminism.


First, your story, Squad, is in the form of a conversation between two friends. What was the writing process for this particular story like?


They are not friends as friends should be, are they? Anyway, the story took five months to write. I tried writing it in first person and it didn’t come out right. Third person did not work either. So I decided to try writing it in the same style as I wrote Kudinyana…more dialogue and less description. It worked. The tone I was looking for fell into place and it was easier (and faster) to pass the message I wanted to pass in conversation form than it was in proper, traditional prose. Plus dialogue is my strongest writing weapon. I also edited it a lot. It touches on a sensitive issue and I could not afford to be misunderstood. I also wanted the final product to have as much weight as possible because most readers think that anyone who writes a conversation from start to finish and calls it a short story is lazy. Not the case. This story took a lot of my time and feelings. I am glad I don’t have to deal with it anymore.

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Conversation 002: Emmanuel Iduma and Adebiyi Olusolape

by Enkare Review

Emmanuel Iduma: Do you remember when we met? I have a vague memory of Dami Ajayi showing you a short story I’d just written (God Sees Backward) and you said something about my poetry.

Adebiyi Olusolape:  That feels like far away and long, long ago, but is it even eight years yet? If you had not given it, I would not have remembered the title of the story. However, I recall the thrill I got from reading that story even though I do not recall many of its particulars. The central character was a Christian preacher, right? And, the story was set against the backdrop of an ethno-religious conflict in Jos, or have I gotten it wrong?

The thing about your poetry is the realisation that your writing relied on a metonymic choice of words. You would be describing an everyday feeling, action or event but your word choice relied on substituting unexpected words for the ones I would naturally expect in those contexts. The journey of reading you meant arriving at familiar places but through oblique routes.

Your writing kept compelling my thoughts to move laterally. From time to time, this lateral movement would run into the concreteness of a solid metaphor. I think it all worked because much of your action played out in the mind of a character or the narrator. The physics and geography of inner worlds allows for that kind of thing. And, your characters were notable for their odd notions, so the technique and the ideas it was used to portray reinforced each other.

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