A Survey of African Poetry in the London Times, Sunday Times, Financial Times, the Times Literary Supplement 1865-1985

When Malawian writer Jack Mapanje published his first book Of Chameleons and Gods in 1987, he found himself in great opposition to the government at the time, which banned his book and arrested him. The poetry collection critiques the system of lies and corruption in Malawi's government, especially critiques the president at the time, Hastings Kamuzu Banda. Mapanje's arrest was not hidden from global attention and in January 1988, Chinweizu Ibekwe covered the story for The Times Literary Supplement. His article, "The Detention ofJack Mapanje," deals with the protest that ensued in Grosvenor Square as people appealed for his release and also delves deep into the poet's political activism as well as the international advocacy that grew following his arrest. Chinweizu provides context for the gathering and includes a rather striking detail: even at the protest, people read from Mapanje's banned book—a gesture that echoes the political underpinning of the poet's work and highlights the power of poems in confronting the repressive regime in the country.

Throughout the news article, Chinweizu describes Mapanje as a ‘Malawi poet' and uses his doctorate title (Mapanje received his PhD in linguistics from University College London). The reporter acknowledges Mapanje's honors, including serving as one of the judges for the Commonwealth Poetry Prize in both 1985 and 1986. Although seemingly trivial, the recognition of Mapanje as a poet and doctor bears much significance. First, there is some conditioning and framing taking place as one reads the story; these labels indirectly point toMapanje's work and position or favorable status in the society, which no doubt shapes how one chooses to approach the article, and secondly, Chinweizu simply gives honor where it is due. The unfortunate news of Mapanje's detention does not, in any way, reduce the value of his work, discredit his academic standing, nor take away from the power of his message. Mapanje's message and intention, according to an interview with The Guardian in 2007 was to "survive, and you will embarrass the dictator with your life. Die and give up, then he has triumphed. Victory for you is first, survival. Second, if you have the opportunity, tell your story." And indeed, it is a story he tells with a cultivated consciousness and hope in the face of adversity.

It is very likely that his choices of how to frame the story are influenced by Chinweizu's awareness of and engagement with African literature and critique of Western imperialism which argues for a decolonized African text. In writing about Chinweizu in 2021, Tunji Olaopa of The Guardian Nigeria News observes that the journalist was at the forefront of the "ideological act of redefinition and reclamation" of African literature and literary criticism. Chinweizu's commitment to the welfare and responsibilities of writers is easily reflected in his treatment of the subject at hand.

In the news article, Chinweizu does not merely cover the protest but also considers the injustice at play. His writing takes the report a step further by questioning the validity of the cause of detainment and he also studies Mapanje's arrest in the context of similar past cases. In his account, Chinweizu notes the speculation surrounding the arrest of the "forty-three year old poet and lecturer and how "it may all have to do with how politicians…may have interpreted Mapanje's poems which could be seen as critical of government policies." In revealing this detail, he continues to frame Mapanje as a political poet, one whose work interrogated the governing administration and advocated for marginalized groups. More specific toMapanje's writing style was also the focus on chameleon politics—the deceptive conformity or alliance to a political party where people avoid expressing their private political opinions and switch from one party to another. Chinweizu's piece reflects a well-informed and empowering portrayal of the poet, and his article attempts to have a balanced report on a matter of such gravity.

On the history of the Malawi government in silencing writers, Chinweizu writes: "African rulers normally ban books which frighten them when they first appear…Anything remotely individual is, by definition, potentially subversive." This sentiment is echoed by Mapanje himself, who, in his 2000 interview in Cork Review said, "In those years, anybody who thought independently became a rebel." Again, it is reflected in the introduction to his book, Of Chameleons and Gods, where Mapanje writes: "The verse in this volume spans some ten turbulent years in which I have been attempting to find a voice or voices as a way of preserving some sanity. Obviously, where personal voices are too easily muffled, this is a difficult task…" By situating the poet within the oppressive structures of destructive leadership, there is a real attempt by Chinweizu to identify and address the cause for Mapanje's arrest and detention. Chinweizu seems to be saying that the poet is not the problem; the political nature of his work is also not the problem, but rather Mapanje's insistence to speak out in a nation that disregards human rights and exercises power in arbitrary ways.

The article ends with a rallying and encouraging plea to support Mapanje's release, including a call to PEN and Index on Censorship, two groups that campaigned for Mapanje's release. Chinweizu's article features people like Somali writer Nuruddin Farah and Kenyan writer Ngũgĩ wa Thiong'o–and other prominent African writers whose voices would play a critical role in raising awareness and rallying support. It is interesting to note that Farah also experienced threats from the Somali government for the publication of his novel A Naked Needle. Similarly, Thiong'o's novel Petals of Blood led him to be detained for its political message. Given the familiar experiences of these writers with Mapanje's situation, it almost makes them the most suitable and effective choice to be highlighted in the article—an opportunity Chinweizu does not miss. Not only does this gesture highlight the global concern Mapanje's arrest caused, but it also demonstrates a unifying sense among African who champion the freedom of expression and educates the public on the unjust silencing of writers.

Chinweizu presents a statement of hope for a change, and he does this by addressing the reader directly as if to drive home the point: "anyone with doubts about the practical effectiveness of individual letters of protest might be reassured by the testament of Ngũgĩ wa Thiong'o…" Chinweizu's personal advocacy and care for the subject at hand stands out here. His coverage is articulated with a firm assertion of the unjust nature of the poet's detention, the necessary political and historical context for readers to understand the significance of the incident, as well as a commending representation of the poet Jack Mapanje and the revolutionary and rallying power of his work.

References

Farah, Nuruddin. "The Start of the Affair."The New Yorker, 15 Dec. 2014, https://www.newyorker.com/magazine/2014/12/22/start-affair.Accessed 10 Nov. 2022.

Ibekwe, Chinweizu. "The detention of Jack Mapanje." The Times Literary Supplement, no. 4423, 8 Jan. 1988, p. 36. The Times Literary Supplement Historical Archive, link-gale-com.libproxy.unl.edu/apps/doc/EX1200453771/GDCS?u=linc74325&sid=bookmark-GDCS&xid=1fb0a8e0. Accessed 10 Nov. 2022.

"Jack Mapanje ." Poetry Foundation, https://www.poetryfoundation.org/poets/jack-mapanje. Accessed 10 Nov. 2022.

"Jack Mapanje." Wikipedia: The Free Encyclopedia, Wikimedia Foundation, 11 May 2022, https://en.wikipedia.org/wiki/Jack_Mapanje.Accessed 10 Nov. 2022.

Mapanje, Jack. Of Chameleons and Gods (African Writers Series RG). United Kingdom, Pearson Education, 1991. Accessed 10 Nov. 2022.

"Nuruddin Farah." Wikipedia: The Free Encyclopedia, Wikimedia Foundation, 26 Aug. 2022, https://en.wikipedia.org/wiki/Nuruddin_Farah. Accessed 10 Nov. 2022.

Mapanje, Jack, and Matthew Geden. "I HAVE BEEN HAPPY HERE: Interview with Jack Mapanje." The Cork Review, 2000, pp. 10–13. JSTOR, http://www.jstor.org/stable/20768897. Accessed 11 Nov. 2022.

"Ngũgĩ Wa Thiong'o." Wikipedia: The Free Encyclopedia, , Wikimedia Foundation, 28 Oct. 2022, https://en.wikipedia.org/wiki/Ngũgĩ_wa_Thiong.Accessed 11 Nov. 2022.

Olaopa, Tunji. "Where Is Chinweizu? Revisiting Nigeria's Discursive Space."The Guardian Nigeria News, 24 Mar. 2021, https://guardian.ng/opinion/where-is-chinweizu-revisiting-nigerias-discursive-space/.Accessed 24 Nov. 2022.