Nina Jablonski:  As someone who studies the human biological past, I had been writing about skin color and race for academic journals and for adult readers for years. The idea of doing a children’s book was planted back in 2010 when a friend impressed on me the importance of writing up my  research  on  skin color and race  as an illustrated book for young readers. Like many South Africans, he realized that skin color had been transformed through the country’s colonial history from a simple bodily trait—something that covers our bodies—to something that determines human worth and destiny. I had found, in the course of my work, that people knew its social significance but didn’t understand it. Many were convinced that there was a genetic connection between skin color and other physical and intellectual traits, including intelligence. This information—about how skin colour had evolved and how it didn’t determine any other human traits—really needed to be conveyed to the people who counted most: young people. But I had no experience in writing for kids and no idea where the story would come from. I had the big challenge of finding a storyteller. I turned to the writer, Njabulo Ndebele , for advice. He suggested you, Sindiwe, saying “she has the spirit and spine needed.”. Sindiwe Magona:  The project scared me, for I had never worked with a scientist. But the subject matter is one of the most important aspects of my life, as it has been the bane of black life in this country and, indeed, the world. This was a book that could enable parents to broach the subject of skin color with their children. All parents need help to deal with race and racism; many did not get good grounding as children. Skin color is often a difficult subject, and dealing with it through storytelling is a great aid. Nina Jablonski:  One of the things that most impressed me once we were talking was your ability to express the everyday wear-and-tear of skin color and color-based racism. Sindiwe Magona:  Racism in South Africa was a way of life as it was sanctioned. Social stratification, according to skin, was reinforced by  apartheid laws  that in turn embedded and entrenched poverty and lack of mobility for the oppressed. The darker the skin color, the less legal protection accorded, to the extent of denial of citizenship. Just as skin color is inescapable, so was poverty inescapable. This created and reinforced a deep-seated sense of inferiority in most black people, while most white people suffered the reverse and felt superior. Nina Jablonski:  You found the hook to start writing the book quite by chance... Sindiwe Magona:  Coming back from our first meeting, Nina, I walked through the gate and reached behind the post for mail. Right there, on the small bush whose leaves I often have to brush aside to look into the mailbox, sat a chameleon. I watched as it slowly made its way from the stalk onto a leaf, changing color as it did. At once, I morphed into a child, a boy, and I envied the chameleon’s ability. If only I could do that. Strange thing is—never before and never since have I spied another in my garden. Nina Jablonski:  When you told me about Njabulo, who longed to change his color, I knew we had a great story. From there, we worked step by step, fitting the science alongside the developing text. We began working with Lynn Fellman, the illustrator, to create the look of the characters and their setting. Sindiwe Magona:  Enter Uncle Joshua and a group of children – Njabulo, Aisha, Tim, Chris and Roshni. Given a recycling project, Njabulo offers his Uncle Joshua’s junkyard, where the group from a multiracial school should meet. Njabulo, waiting for his group, is suddenly assailed by misgivings. Will his “friends” find him wanting? Are they, indeed, his friends? That is when he comes across the chameleon and wishes they were all the same colour … or if one could change colour like the chameleon. Uncle Joshua is stricken by the realisation of the self-doubt that is the lot of the black child. Later, he gets the group talking about skin colour; and here Nina’s science comes in very handy. With understanding grows self acceptance and appreciation. The result is the song that the group presents with the instruments they make using bits and pieces from the scrap yard. Nina Jablonski:  Uncle Joshua was a believable and trusted wise uncle who talked to the kids about things like the effects of sunlight on the body and how people got it wrong when they equated skin color with intellectual potential. The science content boxes on each page provided basic facts backing up what Uncle Joshua was saying. The characters are very true; I don’t know how you do it. Sindiwe Magona:  I am fortunate that I never discarded my childhood, or perhaps it never left me. This enables me to go into that world of the child and imagine its delights, its fears, its doubts, and the absolute thrill of discovery, of mastery. Nina Jablonski:  We can’t force books into the hands of children, parents, and teachers. But we made the book available in all of the official languages of South Africa and made free copies readily available to schools in the Western Cape through  Biblionef South Africa . We are incredibly fortunate that we had support from the businessman  Koos Bekker  through the Babylonstoren Foundation to make these things possible. Sindiwe Magona:  All parents are challenged by the issue of race and racism. White parents often feel “accused” of racism and black parents, by and large, feel since they are at the receiving end of racism, it is the other side that should learn. If white people would just stop being racist then the problem would be no more. Were it that simple. We all need to forgive ourselves and one another... so we can go on and own our past and what it dealt us and then rid ourselves of beliefs we have come to know or recognise as unfounded. From there, we might be able to hand over a cleaner, wiser belief system to our children. You can order a copy of Skin We Are In over  here The original article is available here on The Conversation

The writer Léandre Sahiri, like several other authors, believes that Africans do not read; since all people are predisposed to reading, the reasons for this lack of interest in reading must be questioned. Every person who is born must be initiated into learning a language. And it is through the mastery of reading and writing systems that this person acquires the ability to read. In this post, we will not cover the entire chain or environment that promotes reading, but we will focus on libraries . More concretely, it is a question of establishing the various responsibilities that hinder the development of a reading culture in general and children's literature in particular. This diagnosis is only the fruit of our experience as a young researcher in the libraries of Cameroon. Image source The problems that readers encounter when visiting libraries are legion and diverse: the lack of updating of the collection, the absence of online information on the collections, the absence of books on African realities, the lack of professional librarians, the bad faith of some readers, and the commodification of reading services. The obsolescence of the collections The collections found in Cameroonian libraries are mostly old They are the fruit of the first collection, when the library was set up. They are not renewed, and researchers have difficulty finding recent works in these libraries. As an illustration, in Cameroonian universities, recent books are very often donated by individuals or authors (teachers) who wish to share their writings with students. Recent works published under other skies are almost non-existent. This non-existence finds its basis in the absence of a visionary policy of the promoters and the lack of financial means. In addition to this problem of obsolescence, there is also the absence of online information in the collections. Online catalogue does not exist African library shelf_Source Libraries in Cameroon have almost no online catalog. Even if they do exist, these catalogues are no better able to provide information on the works that make up the collections. This can be verified on the site of the University of Yaoundé 1.  The University of Dschang, like other Cameroonian universities, does not have an online catalogue. This lack of online information does not arouse the interest of people who might move from one city to another in order to find a specific work.  On the site of the Central African University (UCAC) a general idea of the collection is presented but it is not possible to know exactly what works are available. In the same vein, it is not possible to have an idea about the works on children's literature. Absence of local production Not only are the books not recent publications, but there is also a significant absence of local productions and especially children's literature . This problem is certainly linked to the lack of a policy for the cultural industry, that is the book or publishing industry, but we must not lose sight of the fact that libraries rarely make purchases. Books in Cameroonian libraries are mostly foreign because they are very often donated by foreign countries. To a certain extent, these countries promote their writings and therefore their cultures to the detriment of local cultures. As a result, readers are generally far removed from the realities they encounter in the readings. It is more than important to establish partnerships between publishers and libraries in order to provide the latter with local productions and children's literature. Lack of professionalism Another factor that weakens libraries in Cameroon is poor governance. These libraries are staffed by people who are not trained as librarians but who serve readers. These people cannot bring about the necessary reforms, just as they are often unable to respond to the aspirations of users. Children's literature, by way of illustration, requires special attention since the librarian is very often called upon to guide the choices of both children and parents. The maintenance of documents, cataloguing, orientation of users, etc., which are essential in a library are thus relegated to a lower level, hence the decadence of some libraries. Crooked readers We also have a type of reader that is not at all conducive to the prosperity of libraries. Many books in libraries have missing pages. These pages are torn out by readers for a variety of reasons and are purely selfish in the sense that one cannot be interested in information found in the public domain and deprive others of access to it. The documents are often also in a dilapidated state or, even worse, disappear outright from the collection because they have been borrowed but not returned by the reader. It is therefore important to raise the awareness of readers through workshops on the use of collections in libraries. This awareness is most effective when it takes place in childhood or adolescence, periods during which the initiation to reading takes place. Sale of library services The last obstacle we can mention is the sale of library services. In most libraries in Cameroon, access is conditional on the payment of a sum of money. In a context where reading is not the best shared thing, and with the precarious economic situation, this requirement is not the kind to arouse the enthusiasm of readers. It is therefore essential, even urgent, to promote free access for all citizens. In countries such as Spain or Italy, access to libraries is free. This allows pupils, students, and teachers to stay there for their research and the average citizen to consider it as a place of entertainment. The problems faced by libraries in Cameroon, which are at the root of the lack of enthusiasm for reading, are legion. We have listed just a few in this reflection. It is therefore urgent for the Cameroonian government or at least for the cultural and academic institutions concerned to be able to resolve these problems in order to promote the emergence of the institution that is the library. These solutions include creating shelves of children's literature in all libraries; acquiring recent works in order to update collections; making available online catalogues to facilitate access and training library staff. The importance of libraries in an emerging country is well established. The culture of reading is a dynamic that is built from an early age and transmitted from generation to generation.

An important part of any child’s development is their reading. Every child has a vivid imagination, so fueling this can help them develop ideas that in effect help how they visualise the world. Furthermore, it helps them to build empathy and understanding about our world early on. Of course, reading is also a pivotal part of mastering a language. While it’s important for everyone to read literature from around the world, if you are of African descent, it’s a great idea to give your child an understanding of the various cultures in the continent early in their life. This is especially important if you don’t live in the continent currently. With that being said, here are five African children’s books that we recommend. Sosu’s Call by Meshack Asare Sosu’s Call won the 1999 UNESCO 1st prize for Children’s and Young People’s Literature. It is also commonly listed as one of the top twelve titles of Africa’s 100 Best Books. But what is so good about this book? Well, it tells the story of Sosu, a disabled boy who can’t walk. Despite his disability, he is always around to aid his town when in need. People around him find that he has a great deal to contribute despite his physical limitations. It’s important for our children to understand that there will always be limits to what you can do in life. But despite these limitations, you can still have the drive and determination to do what is best for yourself and those around you. This is what the story of Sosu’s Call teaches. Aya of Yop City by Marguerite Abouet and Clement Oubrerie Aya of Yop City is set in Côte d’Ivoire during the 1970s. Yop City is a short name for the city of Yopougon-Koute. These stories are presented as a series of graphic novels based on a 19 year old heroine who is experiencing life one day at a time. Reading Aya is like taking a trip through Yop City yourself, as it explains the sounds, sights, smells and tastes of a prosperous town in West Africa. Chike and the River by Chinua Achebe This story is about a 11 year old who wants nothing more than to cross the Niger river and get to Asaba, but unfortunately he doesn’t have the six-pence needed for the ferry. Chike then goes on a series of adventures to get across, and once he does, it opens up a whole new series of adventures for him. This book has undeniable life lessons for young ones, like teaching them the value of money and how to work hard to make your goals happen. Wangari’s Trees of Peace by Jeanette Winter As a young girl growing up in Kenya, Wangari was surrounded by trees. But after leaving Kenya for a period of time, she is distraught to find entire forests being cut down. So Wangari takes it upon herself to do something about it and starts by planting nine seedlings in her backyard. As they grow, so do her ideas. What’s great about this story is that it teaches children to love their environment. To be aware of the changes happening around them, and to understand what they can do to preserve their natural habitat. Masai and I by Virginia Kroll and Nancy Carpenter Masai and I is about a young American girl who learns about East African culture and begins to imagine herself as a Masai. Her thoughts begin to weave between the two different cultures, as does the beautiful artwork, drawn by Nancy Carpenter. This is a great book for African children who are part of the worldwide diaspora. It shows how having knowledge of your family roots can strengthen your individuality in the western ecosystem. Source: A friMobile Team

The problem is that, unfortunately, those that write in African languages remain invisible, their works are hardly ever reviewed or translated. Publishing venues are limited and getting published is one of the most infuriating challenges of writing in African languages. There are hardly any publishing houses devoted to African languages. So writers in African languages are writing against great odds: no publishing houses, no state support, and with national and international forces aligned against them. Prizes are often given to promote African literature but on the condition that the writers don’t write in African languages." Nanda Dyssou, An Interview with Ngũgĩ wa Thiong’o,  Los Angeles Review of Books , 23 April 2017  This literature review is an attempt to bring together some of the literature on an important and challenging, and one could well say  neglected  aspect of the African book sector, that of publishing in African languages, an area that greatly impacts literary production in many ways. The current (2017) edition of  Ethnologue. Languages of the World,  widely regarded to be the most authoritative resource on world languages, inventorizes a total of 7,099 “living languages” and, for the continent of Africa, its database contains records of a total of 2,143 living languages, which it further classifies as  “ Institutional: 198, Developing: 538, Vigorous: 1,018, In Trouble: 255, Dying: 134”.On the basis of these figures, African languages make up no less than about 30% of all the world’s languages, in a continent currently (March 2018) estimated by Ethnologue to have a population of 1,195,667,795. Yet the number of publications in these African languages is still miniscule, even if just measured against the 1,018 languages which Ethnologue classifies as “vigorous” in 2018. A wide-ranging recent surveyof children's reading materials in African languages in eleven countries, undertaken by RTI International and published by USAID, focused on materials in African languages relevant for early primary level (roughly kindergarten through Primary Grade 3), and which included textbooks and supplementary reading materials. However, it reported a paucity of titles in many languages. There are no reliable statisticsthat could tell us how many books have been published in African languages, nor in how many languages. To the best of my knowledge, and other than the above USAID study, nobody has undertaken any significant research in this area and, in terms of publishing output, there are no nationally published figures or statistics, except, to some extent, for South Africa. As for general book production data for sub-Saharan Africa, the frequently cited figures from the UNESCO Institute of Statistics (UIS), published in the now discontinued  UNESCO Statistical Yearbooks,  have been chronically unreliable and inconclusive for a number of reasons, as this writer has demonstrated in an earlier paper.Meantime national bibliographies for many African countries either don’t exist, or where they exist they are currently dormant, or seriously lag behind in publication, sometimes by several years, or even decades. More than 20 countries in Africa still have no national bibliography. Only a few currently offer digital databases for bibliographic control and recording national publishing output and, like the print versions, most of them tend to lag behind in their publication schedules. Thus there is an acute dearth of statistical data about book production of African language publications, or indeed African book publishing output generally. Book publishing data and book production statistics are important elements in measuring the growth and vitality of indigenous publishing in Africa, but the bottom line is that reliable figures of book publishing output for the continent of Africa, or sub-Saharan Africa more specifically, simply, and lamentably, do not exist. The language debate Arguably one of the most heated debates in current critical discourses on African literatures has been concerned with the language issue. Many have written and spoken at length about how African languages could and should contribute to the development of African countries; and that the future of African literature belongs to the literature in the African languages is a view that has been voiced by many writers, most notably the distinguished Kenyan writer and social activist Ngũgĩ wa Thiong’o.However, it has to be added that his lifelong commitment to writing and publishing in African languages is not always entirely shared by some of his fellow African writers and literary critics, and has been the subject of some spirited debates.While others have suggested that Ngũgĩ’s persistent emphasis on language might become more meaningful, and better served, by establishing literary institutions and publishing platforms in order to provide more visibility for writing in African languages. Ministry of Education officials in African governments tend to argue that multilingualism is difficult to achieve, and that the costs are too high. One problem is that many African countries still do not have a coherent national book policy, nor do many of them have official or defined language policies. Where language policies are in place, they are usually policies that promote English (or French), to the detriment of African languages. In most African countries there is a multiplicity of local languages, and some African governments apparently find it more expedient, and more cost effective, to cling to the colonial language as the official language, despite an increasing body of evidence that has clearly demonstrated that if a child learns to read in its mother tongue in its early years, it later makes it easier for it to transcend to and learn a second language. With only a few exceptions – for major languages such as Kiswahili, Hausa, Yoruba, isiZulu, or isiXhosa – most African languages still have low status and restricted roles for a number of reasons, chiefly among them the colonial legacy, negative perceptions of multilingualism, their language development status, national integration, modernization and economic development, among others.As a result many writers, both aspiring as well as established writers (with a few notable exceptions such as Ngũgĩ), may well lack the  motivation to write and publish in indigenous African languages. Another reason why writing in African languages may not be attractive is due to the absence of any  meaningful recognition  of most authors who chose to write in indigenous languages. Many writers would appear to be disinclined to write in African languages, and much of this reluctance could well be down to a perceived lack of opportunities for publication, or appreciation. It is probably also true to say that many development theoreticians consider the huge language multiplicity a barrier to economic and social growth. However, “sociolinguists and educationists know better: the African continent’s multilingualism is a powerful resource”, says Ekkehard Wolff, Emeritus Professor of African Linguistics at the University of Leipzig. He argues, persuasively, that “the continent needs a new strategy for mother-tongue based bilingual education, from primary through to tertiary level. In this, it can draw from what many other emerging markets and societies, as well as developed countries, do very successfully.” Multilingualism opens doors and is a worthy investment in the quest to give African languages their rightful place in African societies, he says: “Re-empowering African languages is a way to contribute sustainably to societal transformation and economic progress by fully exploiting the cognitive and creative potential of all young Africans.” Publishing in African languages – The current picture In a few countries, notably in South Africa (and also in a number of francophone African countries), commercial publishers are now increasingly committed to publishing in African languages, albeit primarily prompted by the fact that official government policies require the books used in classrooms to be available in the learners’ mother tongues, and thus clearly offering an economic incentive for publishing in indigenous languages. However, publishers in many other parts of Africa remain conspicuous by their disinclination to publish in African languages, most of them citing the lack of readership in indigenous languages, and limited purchasing power, as reasons for this reluctance; while others have questioned whether there is in fact a viable market for books in African languages, especially the minority languages. The lack of orthographies for African languages is frequently given as another reason that makes publishers hesitant to venture into the field of publishing in African languages, in view of the extra costs that language development (and special typography for tonal differences in non-standardised scripts) would require. Yet another common explanation, supported by some surveys, is that many parents still prefer their children to be instructed in English, as they see this as a language that gives access to privileges; and most parents would like their children to be fluent in English rather than in an indigenous language. Many publishers tend to argue – and, one could say, with a good measure of justification – that publishing in African languages can only be financially viable if there is a in fact a market for those books, either in the form of government guarantees or incentives, or other tangible support. Combined with the low incomes of most of the regions where these African languages are spoken, it means that the market for books simply cannot be expected to develop without such support. Conversely, others have maintained that there isn’t a shortage of books in African languages, in South Africa for example. Instead it is a problem of  distribution  and  availability . In a recent eloquent address Zakes Mda – the award-winning South African novelist, playwright, and poet – describing the state of the book and the culture of reading in South Africa today – said that reading in all languages must be respected: … it saddens me that today literature in indigenous African languages is so marginalized that we can only conceive of a culture of reading in English. This is not because books in indigenous languages do not exist. Every year new books are published in most of the languages of South Africa, in addition to the classics in languages such as isiXhosa, Sesotho and isiZulu that have had a literary tradition dating from the 1800s. The problem lies with book distribution rather than the book publishing sector. You may go to any of our major bookstores chains today, say Exclusive Books or CNA, and ask for the latest Sesotho novel by Nhlanhla Maake, a Setswana novel by Sabata-Mpho Mokae or an isiXhosa novel by Ncedile Saule, and the likelihood is that you will not find it in stock. It is a Catch 22 situation because the bookstores will tell you they don’t stock such novels because no one buys them, but the readers will tell you they don’t buy them because they are not in stock. This is a cumulative result of the marginalization of indigenous languages in South Africa today in all spheres of life. Ngũgĩ wa Thiong’o, and many others, have also written about this marginalization of African languages in official domains, in education and the media, and in which they are frequently associated with being unlearned, and so it is perhaps not surprising that publishing in African languages does not thrive, and publishers are reluctant to invest. Three or more decades of shameful government neglect of public library services in Africa is likely to be another reason why African language publishing is not flourishing. In most African countries public library services or national library boards have traditionally been the biggest purchasers of African language titles in the past, usually buying in bulk quantities. However, many library services now operate with pitiful book buying budgets, or new acquisitions have ceased altogether. Instead, government officials and policy makers in Africa would appear to view book donations from abroad as the most effective and most economical method of providing books to their libraries, at no cost to them. For public libraries they do not seem to see a need to provide them with book acquisitions budgets, because their national library services are happy to receive substantial, ongoing donations from book aid organizations in the countries of the North, which frequently include huge quantities of culturally inappropriate titles, and only very occasionally include donations of books in African languages. Some recent initiatives supporting African language publishing Notwithstanding most African government’s lack of positive support for their library services, or publishing in indigenous languages, there have been a number of encouraging developments demonstrating renewed interest in supporting African language publishing, although it seems that (in English-speaking Africa) many of these new initiatives are largely confined to one country at this time, South Africa. For example, that country’s  Indigenous Languages Publishing Programme is a government sectorial priority implemented by the South African Book Development Council. It aims to stimulate growth and development in the book sector, increase indigenous languages publishing, support the ongoing production of South African authored books in local languages, and assist small and independent publishers to produce quality indigenous language books. It funds up to 50% of the cost of publishing the books, while the publishers incur the remaining costs. This programme therefore shares the risks that publishers ordinarily carry on their own when publishing to new markets. A further project is a reprint programme of South African classics in indigenous languages. The project, coordinated by the Centre of the Book at the National Library of South Africa, has reproduced a total of 68 titles, in nine indigenous languages, many of which were no longer available in the public domain. The books were distributed to public and school libraries, arts and information centres, in all nine provinces, were exhibited at literary events as part of a national campaign to promote a culture of reading, and an attractive catalogue was produced. Yet another imaginative scheme for indigenous language fiction in South Africa is  WritePublishRead, the brain child of publisher Via Afrika, working in association with the African Languages Association of South Africa. It aims to give hitherto unpublished local writers of indigenous language fiction the chance to be published digitally in their home language by way of a self-publish starter kit, thus enabling anyone to read these texts if they have access to a mobile phone or any other digital device. An earlier initiative, by the Publishers’ Association of South Africa,and produced with the support of the South African Department of Arts and Culture and the collaboration of National Library of South Africa, resulted in the publication of a substantial 630pp. volume (and accompanying CD) entitled  Writings in Nine Tongues. A Catalogue of Literature and Readers in Nine African Languages for South Africa. This comprehensive and very attractively produced catalogue showcases over 4,000 titles in nine African languages—isiNdebele, isiXhosa, isiZulu, Sesotho, Sesotho sa Leboa/Sepedi, Setswana, SiSwati, Tshivenda, and Xitsonga. For each language titles are grouped under these genres: Novels, Traditional literature, Short stories, Drama, Poetry, Essays and Prose, Multi-genres, and Non-fiction. Each entry (many accompanied by cover images in colour) gives author, title and description in the original language, publisher, ISBN, age level, together with an English translation of the title description. A directory of publishers, with full contact details including email addresses, websites and publisher logos, completes the volume. Published in 2007, this was a marvellous resource, but unfortunately neither the online nor print version would appear to be available any longer. The above projects are the kind of initiatives that might well be replicated, in some form or another, in other African countries. Read the complete review  here .

Reading is an essential building block of learning that expands the knowledge of young children. More than that, it can help to power a child’s imagination, help them understand the vast and ever-changing world around them, and most importantly, it forms the basis of a brighter future.  Unfortunately, a large number of Africa’s children do not have the ability to explore the wonders that await them within the written word. ​​Africa has been facing a reading crisis for over a decade, and because of the COVID-19 pandemic, it only seems to be worsening.  A  study conducted by the ONE campaign  shows that over half the world's 10-year-olds could be unable to read by the end of 2021, with Africa’s children in particular set to struggle the most. The study shows that the global crisis will be most evident in Africa and points out that if nothing is done to improve the rate of global literacy, 750 million children will be unable to read by the age of 10 by 2030, with sub-Saharan Africa alone accounting for 40% of children at risk.  Nigeria’s former Minister of Education, Obiageli Ezekwesili, expressed her concern for Africa’s rate of illiteracy. Speaking at a graduation ceremony in Abuja in July 2021, she highlighted that  nine out of 10 African children  cannot read or learn numbers at the age of 10 and called the statistic an “economic disaster.”  “If children are not able to read to get a certain numerical concept before the age of 10, they are going to be completely unable to accomplish much in life,” she said.  The low literacy rate on the continent can be attributed to a few things: lack of  adequate teacher training and overall investment in training , where teachers teach what they were taught as children rather than keeping up with the evolution of education,  access to tools and reading resources  for children as a result of poverty, and  poor school literacy programs  and curriculum planning.  There are, however, organizations and creative initiatives that have taken the future of Africa’s children into their own hands. These spaces have prioritized children’s education in literacy and are empowering little ones across the continent with books.  These are just five of the organizations that are teaching Africa’s children to read and how you can help them.  Nal’ibali  South Africa Based in Cape Town, South Africa, Nal’ibali’s main mission is to encourage a culture of reading in South Africa’s homes and communities. Translated from isiXhosa, Nal’ibali means “here’s the story,” and living up to their name, the organization puts storytelling at the heart of everything that they do. They aim to improve literacy development through storytelling.  One of the main things the organization is known for are their tuk tuk libraries that operate in Khayelitsha township, in Cape Town. These are mobile libraries that are driven around communities and deliver books to readers’ doorsteps.  “The aim is to make reading for enjoyment a hobby and for everyone in Khayelitsha to have access to library resources,” Sinothando Menzi, a librarian who helps to deliver books,  told the Sunday Times . Nal’ibali runs several more fun initiatives that promote reading, including radio programs and multilingual storytelling resources. You can sign up as a member of the Nal’ibali community to support their programs  here .  Rwanda Children’s Book Organisation Rwanda Representation in media and literacy matters. Having people who look like you and who come from your hometown write a story for you is an incredible way to empower children to read and learn about their own cultures and societies. That’s why the Rwanda Children’s Book Organization is dedicated to expanding the children’s publishing industry in the country.  The organization works to grow the country’s book publishing industry by challenging book policies, increasing the capacity to develop local stories, and growing the use of Rwandan-published children’s books across the country.  The organization also hosts events and initiatives to help promote reading and writing; most recently, they  hosted a primary school writing competition  in partnership with Save the Children.  Room to Read Rwanda, South Africa, Tanzania, Zambia Room to Read prioritizes gender equality in their mission to improve the literacy skills of the world’s most vulnerable children. The aim of the organization is to help girls complete their secondary school education and to provide them with life skills to empower their next steps.  The organization is driven by the fact that two-thirds of the world’s illiterate are made up of women and girls, and because of this, they have dedicated learning programs for girls. While headquartered in the United States, the organization has bases in four African countries: Rwanda, South Africa, Tanzania, and Zambia.  With the help of dedicated partners, the organization does everything from training teachers and establishing reading programs to publishing and distributing books.  There are several ways that you can support the organization’s mission, including signing up to start a fundraising campaign, joining a book club, or donating directly to them.  The Book Bus Zambia Having traveled over 250,000 miles over the last 12 years across Zambia to provide children with books to read, the Book Bus has been steadily improving child literacy rates in the country.  It originated as a traveling library in 2008, but now the Book Bus is now a full-on foundation that supplies low-income communities with curated reading materials to help stimulate literacy and learning in young children. The organization also runs an assisted reading program to help children engage with the material.  The Book Bus’ success has also seen the foundation expand to reach children in Malawi and Ecuador. You can contribute to the organization by donating books or money or volunteering to help the organization here .  Happy Readers Malawi, Zambia, Zimbabwe Happy Readers  is a social enterprise that directly engages with teachers and pupils in an effort to improve children’s literacy levels.  The enterprise runs several literacy projects and publishes books that are specifically designed to teach children how to read. They also provide schools with resources and run training workshops for teachers to further develop skills aimed at advancing literacy education.  Their materials are used in schools across Zimbabwe, Zambia, and Malawi, and they take it one step further by also providing monitoring and evaluation to make the most of schoolchildren’s literacy education.  This article was originally featured on Global Citizen

All children need exposure to diverse books, including the full spectrum of Black characters and their experiences. Explore these stories featuring strong Black characters that exude bravery, confidence, and curiosity. Sulwe Lupita Nyong'o (Author) and Vashti Harrison (Illustrator) This Coretta Scott King award-winning picture book is about Sulwe, who is darker than everyone in her family and wishes she had lighter skin. With the help of her mother and a shooting star, Sulwe embarks on a heartfelt journey to embrace her unique beauty that comes from within. Hair Love Matthew A. Cherry (Author) and Vashti Harrison (Illustrator) When Daddy has to help style Zuzu’s hair for a special occasion, he has a lot to learn. After a few failed attempts, he carefully combs, parts, and twists until Zuzu’s hair is all set for the special day. The Day You Begin Jacqueline Woodson (Author) and Rafael López (Illustrator) A lyrical reminder that we all feel like outsiders sometimes. It may be from the way we look, where we’re from, and even how we talk. This book is all about finding the courage to share our stories and make connections to celebrate our differences. I Believe I Can Grace Byers (Author) and Keturah A. Bobo (Illustrator) Regardless of gender, race, religion, or ability, this moving text inspires children to never give up.Through powerful affirmation, children feel empowered to believe in themselves and their potential to make their dreams a reality. My Hair is a Garden Cozbi A. Cabrera When Mack gets teased and taunted at school about her unruly hair, she turns to her neighbor Miss Tillie for comfort and help. To help Mack learn to care for her hair—and appreciate herself—Miss Tillie uses the metaphor of her lush garden to show Mack the many kinds of beauty and all the nurturing they require. Amazing Grace Mary Hoffman Grace loves to act, but one day some kids tell her she can’t play the part of Peter Pan because of the way she looks. Grace’s grandmother helps this young girl realize that with effort, anything can be achieved. It's an inspiring and heartwarming story. I Am Enough Grace Byers This ode to female empowerment is the perfect gift for any little girl in your life. It’s all about loving who you are, kindness, and respecting others. My Favorite Book in the Whole Wide World Malcom Mitchell (Author) and Michael Robertson (Illustrator) Henley has a difficult time finding books that are “just right” for him. Most books are too long, too big, or simply too boring. When Henley is asked to bring in his favorite book to share with his class, he goes on a mission to find the perfect book for the assignment. My Rainy Day Rocket Ship Markette Sheppard (Author) and Charly Palmer (Illustrator) On a rainy day stuck inside with nothing to do, a little boy decides to build a rocket ship. With the help of his parents, a cardboard box, and a strong imagination, he sets off on a fun-filled adventure in outer space. Layla’s Happiness Mariahadessa Ekere Tallie (Author) and Ashleigh Corrin (Illustrator) Layla shares all the things around her that make her happy. From planting seeds and watching them grow to looking at the moon and catching sand dollars, Layla is truly comfortable in her own skin within her loving community. Rocket Says Look Up! Nathan Bryon (Author) and Dapo Adeola (Illustrator) Rocket is an aspiring astronaut and stargazer prepared for the Phoenix meteor shower. She hands out flyers for the event, but when the meteor shower takes too long to begin, many people begin to leave.  Source : Dolisha Mitchell

Stacey Fru, a South African International Multiple Award-Winning Child Author, is named a 2020 Global Child Prodigy . She is a philanthropist and activist who, at the age of 12, was honored by the Egyptian President as one of the 5 Most Promising African Youths in 2019. The now 13-year-old Stacey wrote her first book, “Smelly Cats,” at age 7. She has since dedicated a portion of her life to reach out and to inspire and educate people of various ages across the world. With over 20 awards and recognitions, Stacey has published 5 chapter books and is still writing. Stacey’s first book is approved by the South African Department of Basic Education as suitable for children of all ages through to primary schools. Since Muna Kalati is promoting children and young adult authors, it was an immense pleasure to gather her views in this regard. In this interview, she openly speaks about her first reading experiences, the authors that inspired her, her reading practices, and her vision for the development of children's literature in Africa. Join us in the journey... Hello, Stacey! Hi, Christian. We are glad to interview you as a writer of children's books and a global literacy advocate. So, let’s start with the beginning. Going back to your childhood, what type of reader were you? Which authors stick with you most? How have your reading tastes changed over time? As a child, I was an avid reader. I read books by David Walliams, Rachel Renee Russell, and Roald Dahl, and those authors have had a great impact on my work. My reading taste has changed over time. Although I still prefer fiction, my tastes revolve around more realistic aspects. What were the first children's books you read? Were they African? What did these reading practices teach you as a child? Although I cannot recall my first book, I am 100% sure that it was not African. Reading as a child helped me develop my strong passion for reading that I still hold with myself today. Why did you become interested in the world of children's books? Is it a choice or a stroke of fate? I became interested in children's books because that was my main exposure, and at my age it was the only thing I was interested in, but as seen in my work, my writing style has changed along with my tastes. I think that my writing is not a stroke of fate or choice, but it grows as I do. What books are on your nightstand? To kill a mockingbird, A snowbound scandal, Bodyguard: hostage, Roll of Thunder Hear My Cry Could you describe your ideal reading experience? My ideal reading experience is in a bed, on the floor, or on a comfortable couch. I prefer to have a blanket regardless of weather. I would usually lie on my tummy with my elbows below my chest and the book slightly below me. Which writers—novelists, playwrights, critics, journalists, poets—working today do you admire most? I admire many people, Angie Thomas, John Green, and Anthony Horowitz, to name a few. You’re organizing a literary dinner party. Which three writers, dead or alive, do you invite? John Green, Franz Kafka and William Shakespeare What moves you most in a work of literature? The authors honesty and their ability to display emotions in an effective way. How do you organize your books? Who is your favorite fictional hero or heroine? Your favorite superhero or villain? In my books there is always a hidden antagonist with their motives; I have no favorites. My favorite fictional villain not from my work would be the system of oppression in The Hate U Give, and my favorite hero would be Alex Rider . In an illustrated book, how central is the art to its success or failure, and what’s the relationship between art and text in your mind? I believe as they are children's books, seeing pictures makes it interesting to even children not yet able to read because they are fascinated by the pictures, and it is adults duty to read and explain the images to them. In Africa, the children's book sector is not well known to the public and especially to parents. How do you explain this phenomenon? Lately in South Africa, many child authors are emerging. People are getting to know them, and parents are supporting their children to have their works published, and this has great impact on aspiring child writers, and I see more children's books becoming available on the market. What is your vision for the future of children's literature in your country? It is going to be huge and people are must support the children Any last word? Every African child must be able to read and write Since Stacey was a speaker at the World Literacy Summit and a literacy advocate, we do understand her position. Below are few facts showing the critical relevance of promoting literacy for: If all children globally learned to read, 171 million fewer people would live in poverty. During the past four decades, under-five child mortality has been reduced by more than half—a fact that can be attributed to the increase in women’s literacy. Society recoups $7.14 for every $1 dollar invested in adult literacy One extra year of schooling increases an individual’s earnings by up to 10%. No country has achieved continuous and rapid economic growth without at least 40% of adults being able to read and write. Participation in adult literacy programs correlates with increased participation in trade unions, community action, and national political life. Educated mothers are 50% more likely to immunize their children than mothers without schooling. The better older adults are able to read, understand, and use health and medical information, the happier they are. We thank Stacey for dedicating time to participate in this interview! We have learned more about your experience as a child writer, and we wish you all the best in your future endeavors. We hope this will inspire many other kids, young adults, and adults to venture into writing, for we need to produce more African stories, projecting the real picture of Africa. If you are a parent with a kid who has a passion for writing, we invite you to read this article on the role of Victory Fru , the mother of Stacey, who is advising and supporting her to achieve her dreams.  You could order one or many of her books on Amazon or using the details below:

Christine Mapondera-Talley, a Chicago resident who self-published a picture book,  Makanaka’s World: Adventure in Morocco , two years ago, is launching a publishing company called Global Kidz House . GKH will specialize in children’s books (pre-K to seventh grade) that celebrate the history and diverse cultures of Africa and the African diaspora in fiction and nonfiction. Mapondera-Talley’s goal is to dispel common stereotypes about Africa and Africans. “I take issue with how Africa and Africans are represented in literature,” she told  PW.  “There’s been a growing discomfort and difficulty with the topic due to the misrepresentations. Children don’t get a complete perspective on what life is like in African countries.” Mapondera-Talley, who immigrated to the U.S. from Zimbabwe 21 years ago, when she was a teenager, explained, “When I think of home, I remember the fun I had with my family and friends. We lived normal lives like anyone else.” She feels that stereotypes about Africa treat the continent as a monolith and that U.S. media emphasizes such topics as war, refugees, poverty, and famines, overlooking the positive as well as the unique histories and cultures of each of its 54 countries. She also noted that she has met a number of authors and illustrators of African heritage who share her concerns about misrepresentations of Africa and the African diaspora. Until the pandemic shut down Chicagoland, Mapondera-Talley worked as an office manager in a dentist’s office; she decided to launch a small press while sheltering at home with her family this past spring. She has assembled the same team—editors, an art director, printing partners—that worked with her on  Makanaka’s World . She intends to focus on emerging writers and illustrators by reaching out on social media and by welcoming solicitations from such authors and artists. GKH does not yet have national distribution, but Mapondera-Talley is researching various companies. “Covid has re-calibrated everybody’s life,” she said. “I had more time on my hands; what is my excuse for not doing this?” As GKH’s 2021 list proceeds through the publishing pipeline, Mapondera-Talley and her colleagues will be launching a digital newsletter this fall, called Passport Africa, that provides children with content about Africa. The press will debut in March 2021 with  Gogo’s Garden  by Mapondera-Talley, illustrated by Chase Walker, a Liberian artist; it is a picture book inspired by Maperonda-Talley’s grandmother, “with whom I spent countless hours in the garden.”  Gogo’s Garden  is, Mapondera-Talley explained, “a tribute to generational families and a farm-to-table story.” In June 2021, GKH will publish  Pamima’s Journal , a middle-grade novel by Nigerian writer Diseph Ruth Otto. It’s a tale about a 10-year-old Nigerian budding environmentalist who feels trapped between her overachieving older brother and spoiled little sister. In fall 2021, GKH will publish another picture book written by Mapondera-Talley,  I Am Legacy,  illustrated by Malawian artist Khama Lwanda. It pays homage to legendary figures in African history: “political activists, musicians, women’s rights advocates, environmentalists, novelists, and more. It’s a love letter and reminder to my fellow brothers and sisters to reflect on whose shoulders we’re standing on.” Mapondera-Talley also intends to write sequels to her 2018 picture book and publish them under the GKH imprint.  Makanaka’s World  has sold 5,400 copies to date, and Mapondera-Talley has made school visits and presented at conferences and book fairs. While the first volume in the series was set in Morocco, the next volume will explore Zimbabwe, and the third will explore the North Pole. Mapondera-Talley promises the series will focus upon countries on all continents, not just Africa. Reflecting upon her new venture, launching a publishing company far away from New York City’s media hub, Maperondera-Talley insisted, “I’ve learned a lot about publishing without being in New York. Even in the Midwest, I can be a force to be reckoned with, but I have to do the work. I just have to keep my eyes and ears open.” Source

Nsah Mala is a Cameroonian poet, writer, and children’s author of 2 fantastic, illustrated books that have been well acclaimed for their unique angle and the colorful and beautiful pictures they contain. Muna Kalati had the opportunity to interview him to know more about his journey as an author, his experiences, challenges, and vision of the children’s book industry in Cameroon. Muna Kalati: How was your encounter with books and your first reading experience? Nsah Mala: I cannot trace my encounter with books and reading to any specific date or event apart from my first meeting with the English alphabet in CBC School Mbesa in the mid 1990s. And I also remember picking up books, including books in Hausa, from my father's boxes and becoming friends with them while still in primary school. MK: What were the first children's books you read? Were they African? What did these reading practices teach you as a child? MK: Could you give us an overview of your career? Why did you become interested in the world of children's books? Is it a choice or the work of destiny ? NM: After reading Anne Tanyi-Tang 's “Ewa and Other Plays” in Form Two in Government Secondary School (GSS) Mbessa, I wrote my first play called “Taku” during the holiday leading me to Form Three. By the time I finished Form Five, I had written four plays, all unpublished till date. In high school, I began writing poetry as well. My first poetry collection, “Chaining Freedom,” was published in 2012. Since then, I have published five poetry collections, including one in French, viz. “ Bites of Insanity ” (2015), “ If You Must Fall Bush ” (2016), “ CONSTIMOCRAZY: Malafricanizing Democracy ” (2017), and “ Les Pleurs du mal ” (2019). I have also co-edited three poetry anthologies, including a recent international bilingual (English and French) anthology on the Anglophone War in Cameroon entitled “ Corpses of Unity—Cadavres de l’unité ,” and contributed poems and stories to numerous magazines and anthologies across the globe, including “ Redemption Song and Other Stories ,” the Caine Prize Anthology 2018 . I came into children's writing both as a choice and the work of destiny, God's hand, I should say. Specifically, I was invited by the dearth of children's books from Africa and the near absence of black characters in children's literature . Issues of diversity! MK: What are the challenges that you have encountered? Was it easy to be published, and it’s possible to live from the revenue of your books? NM: Access to publishing channels is one of the most acute challenges all writers in Africa face. I'm no exception. And then there is also the dilemma of having books published and available in the West while they are difficult to purchase in Africa, where most target readers are found. It is possible but very rare to live off writing alone as a source of income. And I have not yet come close to such a juncture in my career. Indeed, it is very difficult. Very few writers, even in the West, ever succeed to live off only from writing. MK: How do you promote your books and what has been their reception by the readers? NM: I assist my publishers by promoting my books on my social media handles, especially Facebook, Twitter, and LinkedIn. And by jumping at opportunities for interviews like this one from you at Muna Kalati . So, thank you. My picture books, particularly “Andolo: the Talented Albino,” have been well received by children, parents, newspapers, book clubs, research institutions, and so on, from Cameroon through Nigeria and Kenya to the UK... MK: How many children's books have you published to date? Could you name them? Would you like Muna Kalati to review these books? NM: So far, I have published two children's picture books, each of them in English and French, namely: “Andolo: the Talented Albino” (Éditions Akoma Mba, 2020) “Andolo, l'albinos talentueux." (Éditions Akoma Mba, 2020) “ Little Gabriel Starts to Read ” (Spears Books, 2020) “Le petit Gabriel commence à lire” (Éditions Stellamaris, 2020) I have translated one picture book from English called “Be a Coronavirus Fighter” into French as “ Un Combattant du Coronavirus ” (Yeehoo Press, 2020). And I am super excited about my picture book “What the Moon Cooks,” which was acquired by POW! Kids Books (USA) in summer 2020 and will be published in 2021. The book deal was announced in Publishers Weekly . Of course, I would be very glad and grateful if Muna Kalati reviewed my children's books. MK: Do you collaborate with other writers and illustrators of children's books in Cameroon or in the diaspora? If yes, how. NM: I am in connection with a number of Cameroonian and African authors and/or illustrators, as well as those from Europe and America. Some of my collaborators include Akira Junior (Fakala Richard), Tifuh Awah, Alain Serge Dzotap, Tololwa Mollel, NJ Mvondo, Christian Epanya, and so forth. Yes, we collaborate behind the scenes. And I am sure time will also come for public collaborations. MK: Are you conducting any action for the promotion of children and young adult literature in Cameroon or Africa? NM: Yes, even before my first children's book was ever published, I had been actively promoting the culture of reading among children in Africa in general and Cameroon in particular. For instance, I made live videos on Facebook to draw parents' and children's attention to free online children's book sources in Africa such as Book Dash in South Africa and African Story Book , where countless children's stories can be downloaded or read online free of charge. Moreover, my doors are always open for collaborations in this domain, including interviews like this one, TV appearances, workshops, etc. MK: The children’s book industry is not well known in Cameroon and Africa, especially by parents. How do you explain this phenomenon? NM: Children's books are less known by an adult public, which largely does not read adult books. So, it is a cause-and-effect scenario. Moreover, there are almost no political institutions in Cameroon, for example, that seriously engage with promoting and popularizing the sector. You see? MK: Yes, I see, very sad reality. So, how would you describe the culture of reading in Cameroon? Do you have ideas to make things better? NM: As already pointed out, both adults and institutions are to blame for the dearth and timidity that we experience in the book and reading sector more generally. Take the case of Cameroon. How many serious public libraries do we have? Not to mention specialized children's libraries.  In addition, schools should encourage and reward reading for pleasure or self-edification among students instead of only reading books on prescribed educational booklists . Finally, the civil society and social entrepreneurs should do more to preach and spread a culture of reading in Cameroon and elsewhere in Africa. For instance, they should organize book readings in different places or through mobile caravans, encourage the setting up of reading clubs in schools, carry out sensitization campaigns on the importance of reading, and so on. Let me use this opportunity to commend Éditions Akoma Mba and Harambee Africa for all their promotional efforts, especially Akoma Mba’s recent participation in YAFE 2020. MK: Children's literature is generally marginalized in Africa when compared to classic literature. Do you agree with this? NM: That is sadly true! And should not be the case! We must understand that children's literature is the bedrock, or better yet, the ancestor of adult literature. Once we take cognisance of this fact, we will all put our hands on the plough of promoting the book and reading industry at all levels of our societies. MK: What is your vision of children’s literature in Cameroon? My vision is that of hope. Despite the present challenges and timidity, I see light at the end of the tunnel. Let those of us already doing something to change things in this domain keep the momentum. We will smile in the end. Any last word? Thank you for all that you are doing to promote children's literature in Africa. I am grateful for this interview as well. On est ensemble!

Christian Elongué, our executive director, is one of 30 literacy leaders named to the International Literacy Association’s (ILA) 2021 30 Under 30 list. The global list celebrates rising innovators, disruptors, and visionaries in the literacy field. Christian Elongué is an author and researcher on children and young adult literature. Dismayed by a lack of black characters in books available to African children, Christian founded munakalati.org in 2017 with the goal of building international recognition for African children’s book authors and increasing access to African children's books. He was recognized for publishing Muna Kalati magazine , which is becoming a reference for writers, publishers, and illustrators of children's and young adult books, as well as librarians, teachers, editors, and parents. Christian has supported several researchers or mentored Master & PhD students to undertake research on African children's literature in Cameroon, Benin, Togo, and Burkina Faso. In 2019, he authored the book An Introduction to Children Literature in Cameroon , the first scientific work with a holistic approach on the children book industry in Cameroon. Prior to that, he collaborated on children's literature with the French National Centre for Children’s Literature. As a founding member of the International Board of Book for Young People (IBBY-Cameroon) , he spent a number of years developing literacy and educational initiatives as a means to empower children in West Africa. Chrstian Elongué indicated that the ultimate goal of Muna Kalati’s work is to increase awareness and access to diverse and affordable books for children and young adults in Africa. They shape the future of literacy by increasing the culture of reading, and it empowers kids and young adults to be lifelong learners and leaders. According to him: Representing 12 countries, this year’s list of honorees includes educators, nonprofit leaders, authors, volunteers, researchers, and social entrepreneurs. “The start of 2021 is filled with much promise thanks to the work of this year’s class of honorees,” said ILA Executive Director Marcie Craig Post. “Their work—whether it’s research on multicultural literacy, helping young students find the power of their voice, or dismantling systems of oppression in education—is impacting the lives of countless individuals and communities. Not only do these emerging leaders share in our mission of literacy for all, but they are also helping to ensure that the post-COVID era, when we get there, will be grounded in equity for all.” Christian Elongué hence joins a growing cohort of leaders. Past honorees include Gerald Dessus, social justice teacher and curriculum developer in Pennsylvania; Shiza Shahid, cofounder of the Malala Fund; Allister Chang, founder of Civic Suds; and Freshta Karim, founder of mobile library Charmaghz in Afghanistan. ILA’s 30 Under 30 honorees are featured in the January/February 2021 issue of Literacy Today , ILA's bimonthly magazine, which published today. To view the Literacy Today feature and read more about the honorees’ accomplishments, visit  literacyworldwide.org/30under30 . About the International Literacy Association The International Literacy Association (ILA) is a global advocacy and membership organization dedicated to advancing literacy for all through its network of more than 300,000 literacy educators, researchers, and experts across 128 countries. With over 60 years of experience, ILA has set the standard for how literacy is defined, taught, and evaluated. ILA’s Standards for the Preparation of Literacy Professionals 2017 provide an evidence-based benchmark for the development and evaluation of literacy professional preparation programs. ILA collaborates with partners across the world to develop, gather, and disseminate high-quality resources, best practices, and cutting-edge research to empower educators, inspire students, and inform policymakers. ILA publishes The Reading Teacher, Journal of Adolescent & Adult Literacy, and Reading Research Quarterly, which are peer reviewed and edited by leaders in the field. For more information, visit literacyworldwide.org .

The Children’s Africana Book Awards (CABA) are presented annually to the authors and illustrators of the best children’s and young adult books on Africa published or republished in the U.S. The awards were created by Africa Access and the Outreach Council of the African Studies Association (ASA) to encourage the publication and use of accurate, balanced children’s materials about Africa. The awards are presented in two categories: young children and older readers. Best Book: New Adults (South Africa) Born a Crime: Stories from a South African Childhood by  Trevor Noah Read a Description of  Born a Crime: Stories from a South African Childhood Trevor Noah’s unlikely path from apartheid South Africa to the desk of The Daily Show began with a criminal act: his birth. Trevor was born to a white Swiss father and a black Xhosa mother at a time when such a union was punishable by five years in prison. Living proof of his parents’ indiscretion, Trevor was kept mostly indoors for the earliest years of his life, bound by the extreme and often absurd measures his mother took to hide him from a government that could, at any moment, steal him away. Finally liberated by the end of South Africa’s tyrannical white rule, Trevor and his mother set forth on a grand adventure, living openly and freely and embracing the opportunities won by a centuries-long struggle. Born a Crime is the story of a mischievous young boy who grows into a restless young man as he struggles to find himself in a world where he was never supposed to exist. It is also the story of that young man’s relationship with his fearless, rebellious, and fervently religious mother—his teammate, a woman determined to save her son from the cycle of poverty, violence, and abuse that would ultimately threaten her own life. The stories collected here are by turns hilarious, dramatic, and deeply affecting. Whether subsisting on caterpillars for dinner during hard times, being thrown from a moving car during an attempted kidnapping, or just trying to survive the life-and-death pitfalls of dating in high school, Trevor illuminates his curious world with an incisive wit and unflinching honesty. His stories weave together to form a moving and searingly funny portrait of a boy making his way through a damaged world in a dangerous time, armed only with a keen sense of humor and a mother’s unconventional, unconditional love. Praise for Born a Crime “Compelling new memoir . . . By turns alarming, sad and funny, book provides a harrowing look, through the prism of Mr. Noah’s family, at life in South Africa under apartheid. . . . Born a Crime is not just an unnerving account of growing up in South Africa under apartheid, but a love letter to the author’s remarkable mother.”Michiko Kakutani, The New York Times "unforgettable memoir.”—Parade “Electrifying memoir sparkles with funny stories... and his candid and compassionate essays deepen our perception of the complexities of race, gender, and class.” —Booklist(starred review) “A gritty memoir... studded with insight and provocative social criticism... with flashes of brilliant storytelling and acute observations.” —Kirkus Reviews Best Book: Older Readers (Nigeria) Children of Blood and Bone by  Tomi Adeyemi Buy the Audiobook  Read a Description of  Children of Blood and Bone Book Description: The first book in a trilogu,  In Children of Blood and Bone (Legacy of Orïsha), Tomi Adeyemi conjures a stunning world of dark magic and danger in her West African-inspired fantasy debut, perfect for fans of Leigh Bardugo and Sabaa Tahir. Zélie Adebola remembers when the soil of Orsha hummed with magic. Burners ignited flames, Tiders beckoned waves, and Zélie’s Reaper mother summoned forth souls. But everything changed; the night magic disappeared. Under the orders of a ruthless king, Maji were killed, leaving Zélie without a mother and her people without hope. Now Zélie has one chance to bring back magic and strike against the monarchy. With the help of a rogue princess, Zélie must outwit and outrun the crown prince, who is hell-bent on eradicating magic for good.  Danger lurks in Orsha, where snow leopards prowl and vengeful spirits wait in the waters. Yet the greatest danger may be Zélie herself as she struggles to control her powers and her growing feelings for an enemy. Best Book: Young Children (Uganda) Sing to the Moonby  Nansubuga Nagadya Isdahl ADD TO CART  A Top 150 African-American Children’s Book 5 Time AALBC.com Bestselling Book! 2019 Children’s Africana Book Award Winner or Honoree Publication Date: oct 1, 2018 List Price: $17.99Format: Hardcover, 40 pagesClassification: Fiction Target Age Group : Picture BookISBN13: 9781911373391Imprint:  Lantana Publishing Publisher:  Lantana Publishing Parent Company: Lantana Publishing Borrow from Library Read a Description of  Sing to the Moon Book Description:  For one little Ugandan boy, no wish is too big. First he dreams of reaching the stars and then of riding a supernova straight to Mars. But on a rainy day at his grandfather’s house, he is brought down to earth with a bump. Do adventures only happen in galaxies far away, or can he find magic a little closer to home? A touching story of a grandfather’s love for his grandson and the quiet pleasures of a rainy day. Honor Book: Young Children (South Africa) Grandad Mandela by  Zazi, Ziwelene, and Zindzi Mandela , Illustrated by  Sean Qualls Format: Hardcover, 40 pagesPublisher:  The Quarto Group Read a Description of  Grandad Mandela Book Description: " profoundly moving..." -Publishers Weekly Nelson Mandela’s two great-grandchildren ask their grandmother, Mandela’s youngest daughter, 15 questions about their grandad, the global icon of peace and forgiveness who spent 27 years in prison. They learn that he was a freedom fighter who put down his weapons for the sake of peace and who then became the President of South Africa and a Nobel Peace Prize-winner, and realize that they can continue his legacy in the world today. Seen through a child’s perspective and authored jointly by Nelson Mandela's great-grandchildren and daughter, this amazing story is told as never before to celebrate what would have been Nelson’s Mandela 100th birthday. Honor Book: Young Children (Niger) Animal Village by  Nelda LaTeef 2019 Children’s Africana Book Award Winner or Honoree Publisher:  Sub-Saharan Publishers Read a Description of  Animal Village Book Description: Animal Village , a children’s picture book, is an authentic folk tale from the Zarma culture of West Africa about a tortoise who saves her village from the ravages of drought with wisdom passed down from an “old story.” Nelda LaTeef’s colorful and strikingly brilliant montage of illustrations in acrylic and collage captures the richness and vibrancy of the sub-Saharan culture from which the story springs. The story is especially relevant to sub-Saharan Africa as it focuses on the devastation of drought and the importance of received knowledge. With its dual themes of wisdom and grit, the book happily entertains while it teaches the importance of hard work and persistence as keys to success. Honor Book: Young Children (Ghana) Mama’s Amazing Cover Clothby  Ruby Yayra Goka 2019 Children’s Africana Book Award Winner or Honoree Target Age Group : Picture BookISBN13: 9789988882969Imprint:  Sub-Saharan Publishers Publisher:  Sub-Saharan Publishers Read a Description of  Mama’s Amazing Cover Cloth Do you know that the African woman’s cover cloth has many uses? In this delightful book that young children will enjoy, a little girl shares the many uses of her mother’s amazing cover cloth. Honor Book: Older Readers (Morocco) Mirage by  Somaiya Daud Read a Description of Mirage Book Description: "A refreshing and unique coming-of-age story... a beautiful and necessary meditation on finding strength in one’s culture."  Top Pick of the Month "A YA marvel that will shock breath into your lungs. If you loved and will captivate you." — This debut fantasy has what it takes to be the next big thing in sci-fi/fantasy."  — , starred reviewImmersive, captivating." ALA , starred review In a world dominated by the brutal Vathek empire, eighteen-year-old Amani is a dreamer. She dreams of what life was like before the occupation; she dreams of writing poetry like the old-world poems she adores; she dreams of receiving a sign from Dihya that one day she, too, will have adventure and travel beyond her isolated home. But when adventure comes for Amani, it is not what she expects: she is kidnapped by the regime and taken in secret to the royal palace, where she discovers that she is nearly identical to the cruel half-Vathek Princess Maram. The princess is so hated by her conquered people that she requires a body double, someone to appear in public as Maram, ready to die in her place. As Amani is forced into her new role, she can’t help but enjoy the palace’s beauty—and her time with the princess’ fiancé, Idris. But the glitter of the royal court belies a world of violence and fear. If Amani ever wishes to see her family again, she must play the princess to perfection... because one wrong move could lead to her death. Honor Book: Older Readers (South Africa) Shaka Rising: A Legend of the Warrior Princeby  Luke W. Molver Book Description: “In a land beset by political turmoil and bloody conflict comes the epic saga of Shaka. Ousted by one of his chief father’s jealous wives and raised in exile, his destiny is sealed through allegiance to a rival chief. Responding to threats from expanding slave trade in southern Africa, Shaka consolidates a new kingdom through warfare, mediation, and shrewd diplomacy. A 2019 Children’s African Book Awards Honor Book for Older Readers. A worthy introduction that offers a young Anglophone audience entry into a legend of Africa without the annoyance of overtranslation and with refreshingly three-dimensional characters.” —

An  audiobook  is a recording of a book or other work being read out loud. Audiobooks have become really essential in these times where everyone is always on the move and still determined to acquire more knowledge. Audiobooks are entertaining, enveloping, and instructional. Since the first language skill that we acquire is listening, 85% of what we learn is by listening. Listening to audiobooks can make learning a much easier process for those young learners who have difficulty reading. What is Kotigo? Kotigo is an audiobook platform with primary focus on African authors and publishers. The audiobooks comprise rich audio formats of printed books written by great authors and others. The Kotigo catalog consists of a wide collection of book genres ranging from business, personal development, finance, religious, biographies, children, marriage, relationships, and many others. The audio narrators are carefully selected to suit the genre, the content, and the character of the authors so our listeners can have an amazing listening experience. The app is free to download ; audiobooks can be purchased in-app; some audiobooks can be downloaded at no cost periodically. The Kotigo platform is integrated with top-notch payment processors to ensure seamless and transparent payment processing. How is Kotigo different? Kotigo , Nigeria’s pioneer audiobook platform, is a dedicated audiobook platform created to provide diverse book readers with an alternative to traditional written literature materials and other related contents. The platform is developed with a primary focus on content written by Africans for the African and international markets. Kotigo, as one of the products of this drive, was born out of the need to constantly ensure consumers enjoy products and services at a more convenient and soothing rate, powered by creativity and innovation and engineered by progressive technology. The platform is developed with a primary focus on books and literature materials by African authors; international content will be added in the near future. Audiobooks on  Kotigo  are narrated by carefully selected and suited narrators based on the content of each book; books are also available in local languages. The  Kotigo  platform covers a wide range of book genres. The platform can be likened to a bookshop and a library of some sort with a wide variety of audiobooks. Some genres of books covered on Kotigo are: business, family, children's literature, religion, finance, biographies and memoirs, academics, professionals, politics and nation-building, religion, and many more. Most importantly, the  Kotigo  mobile application is available on mobile app stores and can be downloaded at no cost to the users. Users can purchase audiobooks and download the books only to the mobile application. Users can also browse and listen to short recorded clips of all books on the app at no cost. As a reader and an active learner, there’s so much to gain from the Kotigo audiobook platform. It’s easy to access and free! Download the Kotigo mobile app and usher yourself into a world of knowledge with no hassles! If you are still wondering why audiobooks are important and why you need to download the Kotigo app, kindly consider the numerous benefits below. Benefits of Audiobooks Increasing reading accuracy by 52% Increasing reading speed, expanding vocabulary and improving fluency Teaching pronunciation Improving comprehension by 76%; and Increasing test scores by 21% when engaged in multi-modal learning 27% of the Kindergarten to Year 12 population are auditory learners Students can listen and comprehend two grade levels above their reading level when regularly listening to audiobooks, and Combining print and audio increases recall by 40% over print alone. More benefits of audiobooks include; An Interesting and Engaging View of the Story The narrator’s personality can make the listener engage effortlessly with the story. This helps develop mental pictures of situations and characters and aids in a deeper understanding of the plot. Narrators are exciting, and they make the story come alive. Making the listeners have a fun experience. Visual Impairments For people with visual impairments and other reading disorders like dyslexia, hyperlexia, etc. The literacy development among differently-abled individuals has been greatly helped by the creation of audiobooks. Memory Improvement The number of audiobooks you listen to improves the ability to retain information, and the more your brain gets used to remembering plots from audiobooks,. This helps you get better at remembering other things of your life. Critical Thinking and Comprehension Your brain constantly tries to figure out certain outcomes, relate events, and typically make sense of the story. This allows your brain to process different situations, which, on the other hand, makes your mind sharper and develops your critical and analytical thinking skills. Self-Esteem And Confidence Allowing students to independently access text and keep up with their peers on both content area reading and pleasure reading—audiobooks help to ease frustration, boost confidence, and make reading much more enjoyable. Accurate Pronunciation Most times, speaking accurately can be a big problem for international students. This leads to students not speaking up in class due to the inferiority complex. Audiobooks go a long way in helping students with pronunciation and even better when students have access to audiobooks in classrooms. You can download the app here for Android Phones and iPhones. Follow the company here: https://mykotigo.com/ Facebook: https://www.facebook.com/MyKotigo