About Oluoch Madiang'

Oluoch-Madiang’ is an actor, director, playwright, adjudicator, poet and accomplished narrator. He has published the children’s book, In The Land of The Kitchen (StoryHippo) and written about the Narrative genre extensively for teacher/producers in Kenya. He blogs here.

‘Everything you have, except your wife,has a price and a time to be sold off. Everything’, Macharia was telling Odhis.’

‘Even your children?’ Odhis asked?

‘I told you everything except your wife. Your wife is the only thing you buy has no resale value. When your children grow up, you sell the daughters away to suitors and the sons to employers. Lakini bibi, bibi huwezi! That’s why nakuambia, you sell that phone and get cash saa hii hii!’

They were seated at Nakuru’s Ticks Club along Kenyatta Avenue. Odhis was having tonic water with ginger. He had laughed uproariously when Macharia had asked for mandazi to accompany his ‘chai kikombe moja’. It took the intervention of the club manager to have Macharia’s order be made. They said that was a special case as normally, they sold tea in a pot and, of course, nothing like mandazi. A waiter had to be asked to go out and buy a ndazi.
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On Saturday March 2nd 2013, the I-am-not-so-sure-if-she-practices-law Advocate, Linda Musita and the I-am-very-sure-he-is-no-Best -Theatre-Producer, Teacher Stephen Derwent Partington, both poetry dabblers, were published in Kenya’s Saturday Nation. The one wrote about the need to quarantine some pretenders while the other made a pitch for the need to dis-inhibit creative. The paradox of this was that both were driven by the need for the elevation of literary quality via pruning and grafting. Interestingly, only Linda Musita’s jeremiad received much attention while Partington’s has not received it’s rightful dissection: evidence, at the outset, of the shallowness of the pretender-artists that we have. Incidentally, some answers to Musita’s bile lie (inadvertently) in Partington’s article while the dangers of Partington’s fantasies are spread out ready for a fuck in Linda’s. Probably, naming and shaming is a popular art? That said, let me launch, for now, where the popular is…for even Partington has dipped his pink fingers there.

I want to look at Linda’s cry on three angles? Did she provide a reasonable critique? Are the reactions so far useful? What is my opinion? Continue reading