For decades, aspiring African writers sought success primarily through book deals in major publishing cities like New York, London, or Paris. However, a significant transformation is reshaping the literary landscape in Africa, creating new opportunities for writers.
This change began over twenty years ago with the establishment of the Kwani? literary magazine in Kenya, which facilitated connections among African writers under the leadership of Binyavanga Wainaina. The emergence of publishers such as Cassava Republic Press in Nigeria, founded by Bibi Bakare-Yusuf, further promoted African fiction and nonfiction, highlighting local writers who had gained recognition abroad.
Today, African publishing houses are fostering a vibrant ecosystem where writers and their agents are signing deals locally. These publishers are engaging in rights trading and collaborations on various aspects of book production, such as translation and cover design. New bookstores, literary magazines, and festivals are also contributing to the growth of transnational reading communities and the emergence of regional bestsellers.
Interviews with African writers, agents, publishers, festival directors, and bookstore owners reveal that this shift is broadening the narratives surrounding Africa and significantly elevating the profiles of African authors. South African writer Zukiswa Wanner noted, “The West is not discovering us. We are discovering us and then telling our stories.”
The recent Doek Literary Festival in Windhoek, Namibia, showcased this evolution, bringing together diverse literary voices from across Africa and the Black diaspora. The festival featured various events, including poetry readings and discussions on African crime novels, highlighting the importance of African-led literary spaces.
This transformation in publishing coincides with the global rise of African fashion, music, and film. A new generation of publishers and agents is bypassing foreign publishers to cater to local markets, revolutionizing book marketing and distribution. They are also diversifying their catalogs to include a wider range of voices from different backgrounds.
Sibongile Machika, a commissioning editor in South Africa, emphasized the role of technology in this new literary landscape, noting the rise of self-publishing and digital platforms that enable young writers to reach audiences directly.
Othuke Anthony Ominiabohs, who founded Masobe Books in Nigeria, aims to address gaps in the publishing industry and amplify regional voices. His collaboration with businesses and social media influencers has led to significant sales and the publication of over 100 titles.
Publishers are also increasingly focusing on local languages, with initiatives to translate popular works into indigenous languages, thereby preserving cultural heritage and reaching new audiences. The translation of notable novels into Shona and the efforts to publish children's books in Nigeria exemplify this trend.
Despite the industry's growth, challenges such as inflation, piracy, and insufficient funding persist. Stakeholders emphasize the need for solidarity within the African literary community to address these issues collectively.
Rémy Ngamije, founder of the Doek Festival, stated, “We have to have boots on the ground. We can’t fix this struggle from somewhere else.” This sentiment underscores the importance of collaboration and mutual support among those working in the African publishing industry.