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In April 1992, David Sadera Munyakei, a newly employed clerk at the Central Bank of Kenya started noticing irregularities in the export compensation claims he was processing. On July 31st 2006, Kenya's biggest whistleblower passed away in rural obscurity, 14 years after exposing the Goldenberg scandal, Kenya's biggest economic scandal to date, estimated at over USD 1 billion. Billy Kahora recounts his story.
In War Crimes Kenyan journalist Rasna Warah exposes how foreign governments and humanitarian agencies conspired to keep Somalia in a permanent state of under-development and conflict and how Somali politicians, warlords, clan-based fiefdoms and terrorists benefited from the ensuing chaos and anarchy. The book is about the many war crimes that have taken place in Somalia in the name of peace, development, religion and reconciliation. It reveals who gained from the spoils of war and who paid the price. War Crimes is an insightful examination of why a failed state colluded in its own destruction and why the international community did little to stop it.
Following and keeping close to the great tradition set by its three predecessors, Kwani? 4 presents a wail of new voices in literary concert with the not so new. The now established talents- Binyavanga Wainaina, Muthoni Garland, Doreen Baingana- share these pages with the fast risers: Billy Kahora, Mukoma wa Ngugi and Shalini Gidoomal. And Kwani? 4 has delved deeper into the all those spaces where the Kenyan story lives: the street corners, the neighbourhood pubs, the in-between semi rural places where the clash of cultures- the traditional versus the modern- continues to redefine the social roles of the individual, dismantle patriarchal constructs and still retain the pithy wit and the devices of ancient orature that time and the ritual of the communal fireside have honed. Still, as though in ridicule of such notions of Africa as being the continent on the lee side of the Digital Divide, Kwani? 4 reaches into the burgeoning realms of the Kenyan blogosphere to bring such politically aware, borderline intellectual and only-two-degrees-shy-of-rebellious voices bringing a fresh look at the old themes of politics, slices of life and religion and placing them alongside such taboo subjects as sex beyond the hetero-normative ideal. Kwani? 4 is established in Africa as the space for cutting-edge new fiction, mind provoking non fiction and photo-essays and witty graphic narratives.
Red Soil and Roasted Maize is a selection of Kenyan writer Rasna Warahs most poignant, introspective and satirical articles, columns and essays that provide snapshots and analyses of events that have shaped Kenyans lives and dreams in the last decade, from the turbulent transition to democracy in 2002 to a flawed election in 2007 that had a deep impact on Kenyas political, economic and social landscape. She candidly deciphers and describes the perils of growing ethnic chauvinism and corruption in an increasingly polarised nation and examines her own life as a writer in one of Africas most diverse and unequal societies.
The first book-length study on the relationship between African literature and new media.
Mzee Ondego, Kenya's greatest choirmaster and Kenyatta confidante tells the story of his relationship with Kenya's founding father. Unknown as the man behind one of Kenya's most influential songs - the haunting dirge that played on during those fateful days after the death of Kenya's first president, Mzee Ondego remembers a time that has become part of Kenya's living memory.
The enormous success of writers such as Teju Cole and Chimamanda Ngozi Adichie demonstrates that African literatures are now an international phenomenon. But the apparent global legibility of a small number of (mostly Anglophone) writers in the diaspora raises the question of how literary producers from the continent, both past and present, have situated their work in relation to the world and the kinds of material networks to which this corresponds. This collection shows how literatures from across the African continent engage with conceptualizations of 'the world' in relation to local social and political issues. Focusing on a wide variety of geographic, historical and linguistic contexts, the essays in this volume seek answers to the following questions: What are the topographies of 'the world' in different literary texts and traditions? What are that world's limits, boundaries and possibilities? How do literary modes and forms such as realism, narrative poetry or the political essay affect the presentation of worldliness? What are the material networks of circulation that allow African literatures to become world literature? African literatures, it emerges, do important theoretical work that speaks to the very core of world literary studies today.
This handbook brings together an international team of scholars from different disciplines to reflect on African popular cultural imaginaries. These imaginaries – in the sense of cultural productions, contexts, consumers, producers, platforms, and the material, affective and discursive resources they circulate – are influential in shaping African realities. Collectively, the chapters assembled in this handbook index the genres, methods, mediums, questions and encounters that preoccupy producers, consumers and scholars of African popular cultural forms across a range of geohistorical and temporal contexts. Drawing on forms such as newspaper columns, televised English Premier League football, speculative arts, romance fiction, comedy, cinema, music and digital genres, the contributors explore the possibilities and ambiguities unleashed by the production, circulation, consumption, remediation and critique of these forms. Among the questions explored across these essays are the freedoms and constraints of popular genres; the forms of self-making, pleasure and harm that these imaginaries enable; the negotiations of multiple moral regimes in everyday life; and, inevitably, the fecund terrain of contradictions definitive of many popular forms, which variously enable and undermine world-making. An authoritative scholarly resource on popular culture in Africa, this handbook is an essential read for students and scholars of African culture, society and media.
Building from his acclaimed anthology Tales of Two Americas, beloved writer and editor John Freeman draws together a group of our greatest writers from around the world to help us see how the environmental crisis is hitting some of the most vulnerable communities where they live. In the past five years, John Freeman, previously editor of Granta, has launched a celebrated international literary magazine, Freeman's, and compiled two acclaimed anthologies that deal with income inequality as it is experienced. In the course of this work, one major theme came up repeatedly: Climate change is making already dire inequalities much worse, devastating further the already devastated. But the problems of climate change are not restricted to those from the less developed world. Galvanized by his conversations with writers and activists around the world, Freeman engaged with some of today's most eloquent storytellers, many of whom hail from the places under the most acute stress--from the capital of Burundi to Bangkok, Thailand. The response has been extraordinary. Margaret Atwood conjures with a dys¬topian future in a remarkable poem. Lauren Groff whisks us to Florida; Edwidge Danticat to Haiti; Tahmima Anam to Bangladesh; Yasmine El Rashidi to Egypt, while Eka Kurniawan brings us to Indonesia, Chinelo Okparanta to Nigeria, and Anuradha Roy to the Himalayas in the wake of floods, dam building, and drought. This is a literary all-points bulletin of fiction, essays, poems, and reportage about the most important crisis of our times.
Echoing the edgy, disjunctive, ever-emergent city of Nairobi that it explores, Nairobi Becoming: Security, Uncertainty, Contingency strives to be several things-in-the-making. It is a historically and anthropologically minded examination of a shifting cityscape, an experimental, collaborative exercise in curated juxtaposition and assemblage, and an interdisciplinary, subjunctive urban ethnography. It brings together curated interventions by twenty-seven artists, scholars, and writers to trace Nairobi’s becoming. Methodologically experimental and multimodal, it seeks to balance an appreciation of Nairobi’s fragmented character while also recognizing its contingent coherency. Nairobi Becoming curates an eclectic collection of different voices and interventions to evoke something of the city's manifold guises and historicities – an urban mosaic of partial experiences as well as dawning possibilities for future becomings. Assembling scholarship, literature, creative non-fiction, and visual art, the contributions are arranged around particular themes, while resisting the urge to develop a singular coherent voice. Security – in its various guises – is the linking thread, the point of articulation that connects apparently disparate elements of Nairobi life, from sex work to roadbuilding, goat markets to funerals. Security is here an analytical operator: a concept that refracts the seemingly diverse modalities of life in Nairobi, and, with the related domains of uncertainty and contingency, brings the city’s dynamics of fragmentation and coherence to the surface in surprising ways. If confronting Nairobi’s will to coherence amidst the strains of fragmentation is the empirical and analytical challenge of Nairobi Becoming, then it is through collaboration and juxtaposition, curation and contrast, and the messiness of assemblage, that this book chimes with the fraught multiplicities of a city-in-the-making. As such, this book is also an exploration of the inevitable tension that exists between curatorial intent and the possibility of allowing each contribution to stand for itself.