African Women Writers: Part 4 of 4

Roseline Olang

To celebrate Women’s History Month, Enkare Review has been sharing profiles of phenomenal women writers on our social media pages here, here and here. We are going to share these profiles on our website as well. This is the fourth part of a four-part series.

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African Women Writers: Part 3 of 4

Roseline Olang

To celebrate Women’s History Month, Enkare Review has been sharing profiles of phenomenal women writers on our social media pages here, here and here. We are going to share these profiles on our website as well. This is the third part of a four-part series.

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African Women Writers: Part 2 of 4

Roseline Olang

To celebrate Women’s History Month, Enkare Review has been sharing profiles of phenomenal women writers on our social media pages here, here and here. We are going to share these profiles on our website as well. This is the second part of a four-part series.

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African Women Writers: Part 1 of 4

Roseline Olang

To celebrate Women’s History Month, Enkare Review has been sharing profiles of phenomenal women writers on our social media pages here, here and here. We are going to share these profiles on our website as well. This is the first part of a four-part series. 

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When Man Becomes Water

After the two poets, Clint Smith and Pages Matam, launch into their powerful poem, ‘Flash’, reciting the opening line together, “Sometimes I stalk myself on Facebook,” followed by a short stanza, such that each poet recites only a single line, the poem begins. The function of the opening stanzas have the feeling of only existing to interrupt the permanence of silence, the moment a room falls silent in anticipation of the performance and so the sentences work as a way to ensure that the entire audience takes a breath at the same time, that nobody is left behind. It is when Smith begins the next stanza that things get interesting. Smith says, “Then I come across images from the year I spent living in South Africa, a place where I fell in love with photography but struggled with the fine line between capturing my own experience and exploiting someone else’s suffering.”

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