The African Publishing Industry: Why is it so hard for African authors to find their books across the continent?
From Chimamanda Ngozi Adiche and Chinua Achebe to Ngũgĩ wa Thiong'o and Stella Nyanzi, Africa is not short of talented authors. Such authors have also gone on to win or be shortlisted for some of the most prestigious literary prizes around the world and their books put at the forefront of book shops. Yet, why is it so hard for African authors to find their work in their home countries and across the continent?
In an article published last week, Zimbabwean author Tsitsi Dangaremba highlighted how it’s difficult to find her books in Harare, let alone anywhere in the country. Unfortunately, the publishing industry across Africa does little to help local authors access their books. Dominated by multinational publishing houses and donor funding - both shaped by the demands of capitalism and aid - it is not uncommon for local authors to struggle finding their books across the continent. However, efforts over the past few years seek to transform the sector.
A History of African Publishing
Historically recognised as the birthplace of humanity and the site of much human evolution, Africa has a rich history within writing and the written word. Defining this history can be complicated as 54 different nations make up the continent, each with its own unique history, culture, tribes, traditions and language.
The roots of the written word in Africa lie in the early civilisations of the Nile Valley, Western and coastal Eastern Africa. During the middle ages, religious centres from the Christian monasteries in Ethiopia to Islamic study centres housed the oldest libraries and universities in Sub- Saharan Africa. With the arrival of European missionaries during colonialism, books became a widespread tool for religious conversion.
In the 1960s, when much of Africa began gaining independence from European rule, only 9% of the population was literate. As literacy rates grew after independence, publishing also developed. However, it was dominated by foreign owned companies that were drawn to the African untapped market - ideas, writers and decisions made in the North took over African markets and books were published in European languages.
Post Independence
After independence, publishing was not a priority for many governments, who instead focused on economic development. They gave limited to no support to publishing across the continent and policies that did address the industry were often regressive. For example, English and Afrikaans were prioritised over indigenous languages in South Africa and in Kenya and Tanzania, imported textbooks dominated the market. Development aid also did not support the publishing sector. The IMF and World Bank’s structural adjustment programmes resulted in impoverished populations having even lower purchasing power, low literacy (especially in European languages), the collapse of public libraries and weak distribution systems.
Eventually and for the first time, development aid started to concentrate on publishing in Africa. Three major initiatives were founded - African Books Collective, Bellagio Publishing Network, and the African Publishers Network. The aim of these organisations were to support local voices and stories from Africa, improve access to African literature on the continent and globally and ensure that the sector becomes and continues to be sustainable.
Challenges
Despite these three initiatives creating space for African writers, the legacies of colonialism on the continent have left the publishing landscape fragmented and with significant barriers for authors. Limited access to publishing opportunities mean that many African writers might struggle to find publishers that are willing to invest in their work, especially when written in indigenous languages. Even if authors wish to publish in these languages, publishers often prefer widely spoken languages such as English and French.
Piracy is another challenge, with pirated books - often sold at lower prices - diminishing authors’ earnings and dominating markets, making it harder to determine legitimate publications. Economic barriers such as limited funding and high production costs further both the quality and quantity of books produced. This coupled with poor distribution infrastructure restricts the reach of African literature, reducing the visibility of African authors and their work both nationally and internationally.
A Publishing Revolution
Over the past few years, a publishing revolution has begun to sweep across Africa. A report from the British Council found how a new generation of African readers and writers have been disrupting traditional publishing. Looking at 6 countries - Ghana, Kenya, Nigeria, South Africa, Uganda and Zimbabwe, the report found how new methods are being used to promote indigenous languages and change consumer behaviour. 3 key findings from the report include:
Innovative modes of publishing and self- publishing are thriving - Platforms like Whatsapp are transforming how books are marketed and distributed across Africa, enabling local authors to access new possibilities in sharing their work.
Expansion of indigenous language publishing - The demand for children’s books in local languages is rising, something that highlights its importance within publishing. This also contributes to cultural preservation.
Innovation within digital reading platforms and audiobooks - Both of these are increasing in popularity and illustrating a new way of storytelling. Not only do they expand the reach of African narratives but they create new opportunities for local publishers to put our writing in the global marketplace.
The publishing revolution across Africa is new, but it shows a commitment to creating lasting change within the sector. Regardless, it is still important to recognise the hold that colonialism has had on the sector even after independence. Barriers still exist, and if there is to be a true change then efforts to dismantle this need to occur first.
Published in the 2nd edition of Developmental Insights
