Book review: Unveiling the literary legacy of Abdilatif Abdalla

The Imaginative Vision of Abdilatif Abdalla’s “Voice of Agony,” translated by Ken Walibora Waliaula and edited by Annmarie Drury, stands as a gem of a book for several reasons. Foremost is its groundbreaking achievement in presenting the entirety of Abdalla’s Swahili prison poetry, Sauti ya Dhiki (Voice of Agony), to English readers for the first time.

This translation, appearing just over half a century after the original publication in 1973, follows closely on the heels of the other significant translation in East African literature, Ida Hadjivayanis’s translation of Abdulrazak Gurnah’s Paradise (Peponi), the latter being Gurnah’s first work translated into his native language.

These translations mark significant milestones in East African literary landscapes, showcasing the cross-linguistic fertilisation between two iconic Swahili writers, Abdalla from Mombasa, Kenya, and Gurnah from Zanzibar. They underscore the rich tapestry of imagination within the Swahili psyche.

The essays within the book lavish praise on Abdilatif Abdalla, and deservedly so. He is a phenomenal public intellectual, a pioneer in modern Swahili poetry, and Kenya’s first post-independence political prisoner. Sauti ya Dhiki serves as a testament to his resilience, composed during his time in the notorious Kamiti Maximum prison using the most basic of materials.

Abdalla’s journey is remarkable; despite his formal education ending with primary school, he emerged as a voracious reader and went on to secure notable positions in academia, journalism, and broadcasting. This book serves as a collector’s item for lovers of modern Swahili poetry, offering not only translations but also insights into Abdalla’s life and vision.

In his preface to the translation, Ngugi wa Thion’go places Abdalla within Kenya’s pantheon of literary giants who fought against oppression through their creative endeavours. Curiously, both Ngugi and Abdalla have proved to be avatars of resistance in Kenya.

The translator, Ken Waliaula, should be lauded for his efforts in rendering the poems into English, though capturing the cadence and musicality of the original Swahili presents inherent challenges.

Critical perspectives within the book, such as Ann Biersteker’s, highlight the centrality of Sauti ya Dhiki in Swahili and East African literature, particularly its significance in understanding the region’s political and cultural history.

The influences of Islamic and socialist narratives are all too evident in the poetic body. Alamin Mazrui’s essay provides a personal and poignant account of his connections with Abdalla and their shared commitment to poetry’s emancipatory potential.

“Meg Arenberg’s reflections on Rhymed, Metrical Translations of Four Poems by Abdilatif” offers English readers a taste of Abdalla’s technical prowess. Additionally, the section on “Textual Backgrounds: Voice of Agony in Its Historical Moment” enriches the reader’s understanding with translations of seminal texts and scholarly introductions.

The significance of Voice of Agony in preserving Abdilatif Abdalla’s legacy and advancing the study of East African literature and history cannot be overemphasised. It stands as an indispensable resource, showcasing the enduring power of poetry as a tool for resistance and emancipation.

Ahmed Rajab, Journalist for The Muslims News.