MOCHAMA: STUCK IN THE MUDDY LITERARY BANKS

I read with enthusiasm Tony Mochama's article (The Sunday Standard, 9th 2007) and which was a reflection of his frozen past that is currently melting "beyond the river".

Certainly, the poet cum-writer's "hit and run" esoteric etymology of "The River Between" is seen to be pseudonymously counterfeit.

First, he chooses to make his mundane poetry works look abysmal an intifadal against other great reads, as Ngugi Wathiongo's.

Secondly, he introduces "literary botulism" by cunningly re- constructing "The River Between", to read "Between the River". This he makes by making us believe that, "it is time to look beyond the river". My emphasis being, "beyond the river". A writer of his genre would be smarter to rename that as "The River Between", and not "beyond the river" which carries a totally different meaning altogether. Or it is matter of poetic gangsterism? Or may be an obsession to confine and submerge oneself in the river or beyond.

On the other hand, is "what if I am a literary gangster" an upstart indemnity for the post (1978-2000) literary drought that comes with solace? Or are his untethered works archetypical that unrestrained or scathingly leftist than fascistic in constant and style?

Even with his literary treatise around, I equally equate Mochama to LRA's "Konya" for his literary violence that is against a seemingly stable pre- millennium societal ideologies, no matter the trans-historical taste.

Aren't Kenyan teens yearning to conceptualize and understand better the climatic political underpinnings between the year 1978 and 2000 that clouded and prevented Kenyan youth from accessing the likes of "The River Between" in schools?

Believing that KIE is "forcing old work on young students" is not only mischievous but utterly perfidious. Not having read and analyzed a pre- millennial by current youth not mean that the book should lose its relevance. Instead, the writer becomes inebriatingly partisan by flaunting the likes of Binyavanga Wainaina's "Beyond the River Yei" (that has a rather consorting poetic prose as his). Isn't this literary escapism and defense mechanism taking the toll of a "youngster against his grandfather", than a step-father a.k.a "literary godfather".

Or is it me et al getting stuck in the mud at the banks of "the river between" of the 1960s and 1970s at this post-millennium age?

Personally, I strongly feel that Tony Mochama is suffering from Wathiongo's pre-millennium reverse social re-unification of our historical past and present.

On a reflective pattern, Ngugi Wathiongo's contribution has led to the re- assessment and (dis)-qualification of female genital mutilation (FGM). Issues involving forceful circumcision of women, trusting a boy than a Kihii (uncircumcised man) and "tribal" victories of one community over another/others only serves to re-educate ourselves in black and white terms than the same author's "Petals of Blood", Ngugi's ideologies are as green as our cyber-lives through some of us would still be mowing in ignorance.

Part of chapter 7 of the same book reads, "Circumcised in hospital under a pain killer", chapter 9 "But we were soon intrigued, fascinated, moved by the entwinement and flowering of youthful love and life and we whispered; see the wonder-gift of God."

Chapter 11, "she is the most powerful woman in all Ilmorog. She owns houses between hear and Nairobi. She owns a fleet of matatus, she owns a fleet of big transport Lorries ". Aren't all these a reflection of our post-millennium lives though written in the 60s?

One more thing, the book carries with it in its pages sex-episodes and scenes even in pyrethrum fields. Just what our youth do with a misconceived notion of having fun, only this time with a condom as a scare-crow for HIV/AIDS.

Thus, as Mochama wants to entangle us in a "fast and forwards" generational discourse, we should desist from defacing Ngugi Wathiongo's literary bust from our school shelves. With sex and circumcision tools, why doesn't Mochama see Wathiongo as "young at heart but wise of mind"?

Instead, he brings conflict to the same younger generation by playing a "literary gangster", thus going against his godfather's "Beyond the River Yei" that carries cross-border peaceful identity. If in fact it is now raining heavily in the literary community, then clouds, drowning and collapse of infrastructure and subsequent "drought and a desert", from the likes of Mochama should await us big.

In Ngugi Wathiongo's piece (Sunday Nation; 9th December, 2007), titled "Why I maintain faith in my Country". He reminds us of his commitment to citizenry. In his words he starts by stating that, "I celebrate with my fellow Kenyans the present moment in our country."

He challenges us with his concept that, "The party represents the leader, not the leader representing the party. Or rather the leader is the party itself". Coming to Mochama, is the teargas book, "What if I am a Literary Gangster", a representation of his character, or is he the subject of his poetry book? Mr. "Taban Lo Liyong" of armed alphabet!

Regards,
Mundia Mundia Jnr.