Showing posts with label Emma Akuffo. Show all posts
Showing posts with label Emma Akuffo. Show all posts

From the Archives: "Marketplace" by Emma Akuffo


At dawn, the masses assemble,
their movements propelled by the rising sun
towards the dirt floor of roadside forges
where the earth has been ferociously shaken.

A kente of vernacular sounds weave men
drawn thoughtlessly from the tribal cauldron,
overlooking diversity, dissonance, and contradiction in culture.
Their flaws and strengths interact in a symbiotic ritual,
a division of labour to fertilise the medieval practice
Where the buying and selling of consumer goods is made easy.

The women cajole in high-pitched voices,
beckoning and haggling for buyers to sample their wares.
Others sit inquisitively like caged hens waiting to be sold.
Their children leap in the stalls as if they grew from them.

You would be surprised what a Ga woman can carry on her person,
adjusting to fit, inelegantly, the sleeping infant on her back
- her sixth; pushed upwards by a calloused left hand
whilst the right secures the excess baggage on her head.

And her life is like that, an incredible juggling act.
She makes a salad of it amidst broken dreams of her dirt floor days,
so she does not beg for bread or cloth to bury her dead.

Distinguished aromas ascend from the stalls -
some are like the colours, bold, delectable, beautiful.
Others are nondescript murkinesses of sweat, toil and tears,
turning the gears behind the scenery of forced encounters between strangers,
exchanging their life currency like a commodity
in return for a fulfilling lunch (breakfast and dinner),
for companionship, for whirlwind romances, for true warmth.

Trying hard not to be cedi foolish and pesewa wise
with borrowed seconds that merge into a goatskin parchment
record of brightnesses and darknesses
reflecting random customs, rituals and superstitions
that portray attitudes towards the world, God, and the cosmos.

Existence is wielded like a broadsword through thrilling and desolate moments,
stopping just before the shadows are cast by tree branches
causing the masses to retreat into the thin air from which they appeared,
their movements dissipated by the setting sun.

And life is like that.


Old poems at OGOV don't die, but live on in our archives! Every once in a while we will dust one off for our newer readers to enjoy. "Marketplace" was orginally published on OGOV on June 14th, 2008.

Author Profile - Emma Akuffo

Biography:

The daughter of a Ghanaian diplomat, Emma Akuffo was born in Russia in 1965. Her childhood years were spent in a number of countries including India, Italy and Ghana, finally settling in Britain with her parents, two brothers and two sisters, at the ripe old age of 11.

Emma holds a PhD in biochemistry and works as a Research Scientist. She lives in England with her husband and two children. When she is not pushing back the frontiers of medical science or engaged in a mad rush after her children, she enjoys cycling into the sunset, swimming in moonlit waters and creative writing, particularly from an inspirational perspective.

A number of Emma’s poems have been included in anthologies from Dogma Publications and Forward Press. Her work is also featured at, amongst other places, brightlightmultimedia.com.

Emma’s poem ‘Love spoke’ was awarded a diploma in the UK section of the Scottish International Open Poetry Competition, 2004.

Emma is currently leading a project to anthologise poems previously published here on One Ghana, One Voice.


Three Questions with Emma Akuffo:

1. Was this description of market life in Ghana based on a particular market? A particular town/city?

"Marketplace" is not really based on a particular market, but experiences pooled from all sorts. I went to Tema market last year when I was in Ghana and drove past Accra market several times so I guess they are most vivid in my mind. Unfortunately I did not get the chance to visit the mother of all markets - Makola but I heard lots about it (good and bad)!


2. At what age(s) did you live in Ghana and experience market life? How do you think this influenced your impressions of the market?

From the age of about six, I remember market trips with my grandma in my hometown, Akropong in the eastern region where I spent most of my long vac (summer holidays). I remember the smells, the vibrant colours, the lively banter and how my grandma haggled the price of meat, plantains, yams and vegetables so we could enjoy the most delicious meals!


3. Descriptions of market life have been a common theme - perhaps the most common - of poems featured on One Ghana, One Voice. Why do you think this is? What hold does the marketplace scene have on the poet?

Perhaps the answer lies in the essence that I try to capture in my poem 'Marketplace.' Life itself is a marketplace where we all depend on each other to survive. We each make our respective entrances into this world and leave our mark genetically through our offspring, economically through our jobs or business affairs or culturally through effecting our communities, and then we vanish into seemingly nothingness and the marketplace goes on... Shakespeare coined the phrase 'all the world is a stage' and I say 'all the world's a marketplace'.


Contact Emma:
emmaakuffo(at)aol.com

Favourite Poems of 2008

Readers' Picks:

Dry Season in Eremon by Edith Faalong (Issue 2.39, September 27th - October 3rd, 2008)
Comments on Dry Season in Eremon:

"First it makes me miss Ghana. It also brings to mind a poem by Kwesi Brew titled The Dry Season. Most important, it evokes the Harmattan, my favourite season. Despite the hardships, dry seasons evoke cycles and returns, and everyone is assured that something better is on the way." - L.S. Mensah

"It brings back fond memories of my visit to extended family members at James Town."
- Giles Kangberee

"Beautiful and touching." - Reggie Kyere


A Flake of Rain by L.S. Mensah (Issue 2.46, November 15th - 21st, 2008)
Comments on A Flake of Rain:

"I love the poem. The use of repetitive words is very effective. It has a sacred mood that immediately demands contemplation of who and where we are as Africans. I must add, however, that it contains a universality that is emphereal. Congrats, L.S Mensah." - Prince Mensah

"The use of metaphor and imagery is well done. It produces a direct and intended affect. It is as crafted as the wooden masks the poet speaks of." - Benjamin Nardolilli

Anansesem by Emma Akuffo (Issue 2.42, October 18th - 24th, 2008)
Comment on Anansesem:

"There are so many wonderful poems that have been published this year on One Ghana, One Voice. But since I have to choose one, it has to be Emma Akuffo's "Anansesem." Her first two lines are some of the best I've ever read. I so want to have lived in this time when a spider ruled the world."
- Laban Hill


Staff Picks:

Without Roots by Edith Faalong
(Issue 2.1, January 5th - 11th, 2008)
Comment on Without Roots:

"My favourite poem for 2008 is Without Roots by Edith Faalong. My goodness, what a splendid way to have begun the year. Edith is so original that I can only ask why she is waiting on her writing career. The tone and themes of this poem captivated me from the first line: 'through the journey i rode behind the jolting bus and reminisced.' The nostalgic essence of Edith's poem is applicable to everyone who misses the land of their birth. I miss Ghana very much and Edith's poem is a time machine for my imagination. Her concluding line:'where does a girl without roots go?' summarizes the sense of loss when you try to reconnect to memories of people and places that no longer exist." - Prince Mensah


Ananse's Grave by Kae Sun (Issue 2.41, October 11th - 17th, 2008)
Comment on Ananse's Grave:

"Kae Sun is an incredibly talented writer and performer, and this is the finest of his poems that I have encountered to date. His efficiency with words and his effective use of rhyme, especially slant rhyme, are truly admirable. The poem rises off the page like a song, but a more adult and sophisticated song than the songs of youth. Add on top of that a powerful message, emphasised so strongly in the closing line, and you have one of the most compelling poems we've published to date." - Rob Taylor


Mother's Touch by Mariska Taylor-Darko (Issue 2.31, August 2nd - 8th, 2008)
Comment on Mother's Touch:

"Mother's Touch deals with a very "touchy" Ghanaian issue: witchcraft and women. It goes to the root cause of our society's readiness to blame whatever is wrong with us upon those who care the most about us. Our lack of commitment to our own goals, together with our willingness to give up, cannot be foisted on our mothers in the name of witchcraft. Mariska's ultimate challenge is for people to own up to their own mistakes. A splendid use of prose poetry!" - Prince Mensah


My Mother's Heart by Reggie Kyere (Issue 2.19, May 10th - 16th, 2008)
Comment on My Mother's Heart:

"A 21 year old writer with little training, Reggie's work shows a formidable amount of intelligence and skill. Reggie knows how to make a poem - how to build his readers up and then send them to the floor, astonished. "Some women love once," he says, then leaves us hanging at the enjambment before landing the closing line "they confess." Wow. Everyone at OGOV is excited to see what will come from him in the future." - Rob Taylor

Anansesem - Emma Akuffo

When I was a child
a spider ruled the world.
We huddled around the coal pot at night
watching honey drip from grandma's lips
depicting magnificent tales
of a spider world far more enchanting than our own
where the crafty one born of a Wednesday has three sons
of disproportionate limbs, topsy turvy heads
and pot-bellied middles.

They made plans and cavorted with other shifty individuals
reflecting a world not unlike our own.

We held our breath
savouring the last morsel of
life's lessons learnt.
When I was a child
and a spider ruled the world.



"Anansesem" is part three of our four-part series of poems on Ananse stories. Previous installments can be found in our archives. Check back next week for the final installment.

Author Profile - Emma Akuffo

Biography:

The daughter of a Ghanaian diplomat, Emma Akuffo was born in Russia in 1965. Her childhood years were spent in a number of countries including India, Italy and Ghana, finally settling in Britain with her parents, two brothers and two sisters, at the ripe old age of 11.

Emma holds a PhD in biochemistry and works as a Research Scientist. She lives in England with her husband and two children. When she is not pushing back the frontiers of medical science or engaged in a mad rush after her children, she enjoys cycling into the sunset, swimming in moonlit waters and creative writing, particularly from an inspirational perspective.

A number of Emma’s poems have been included in anthologies from Dogma Publications and Forward Press. Her work is also featured at, amongst other places, brightlightmultimedia.com.

Emma’s poem ‘Love spoke’ was awarded a diploma in the UK section of the Scottish International Open Poetry Competition, 2004.


Five Questions with Emma Akuffo:

1. What role have Ananse stories played in your life? How have they shaped your writing?

I have vague recollections of hearing the Ananse stories in my childhood so I cannot pinpoint how it has influenced my writing (apart from writing "Anansesem," of course)! However the subconscious is a peculiar beast and particularly in our formative years, most things we see, hear or feel will influence how we perceive and respond to our world throughout our lives. So I won't be surprised if a little something of Ananse stories creeps into my writing every now and then.


2. What has the subject of "Ananse stories" allowed you to explore in your writing that you otherwise could not?

Using the poem itself as an example, the characters in the Ananse stories are probably not that different to ones we encounter in real life!


3. You recently participated in our Roundtable Discussion on women writers in Africa in which, when speaking about girls access to literature, you noted: "The poorer, less literate, families will not prioritise education and may actively discourage girls from pursuing education to a significant level. Therefore, we must not forget to reach out/communicate to these less visible parts of our society. Certain traditions remain but there should me some means of compromise." Is there a way, perhaps, to harness the power of Ananse stories to help achieve these goals, and to negotiate the suggested compromise?

Definitely! Children and young people are influenced and motivated by stories (real or imaginary) that teach ideals, concepts and morals. Perhaps Ananse had a wife or daughters that aimed and succeeded in doing something bigger than expected from them? If not, it's about time someone started writing with such characters in mind...


4. When you write a poem like "Anansesem", are you intending it for an audience? If so, is that audience Ghanaian? English? International?

"Anansesem" is primarily targeted at Ghanaians who grew up listening to such stories and can identify with the characters, but also aims to reach beyond that audience, to arouse the curiosity of international readers who do not know these stories to find out more. I'm not sure if they were published internationally. Perhaps any reader who knows of these books can shed some light?


5. Are you working on any new poems or projects that may interest our readers?

I'm trying to tie off many loose ends at the moment, not least of which is the OGOV anthology. I nearly lost what I had compiled so far when my computer crashed recently but luckily it was backed up on disc. I'm also trying to lay down some other commitments to make way for my passion for writing, so watch this space!


Contact Emma:
emmaakuffo(at)aol.com

Roundtable Discussion #3 - Ghanaian Women Writers

In this, our third Roundtable Discussion here at OGOV, we are focusing on the unique perspective brought to the writing community by African women writers. This discussion features Emma Akuffo, Vida Ayitah and Mariska Taylor-Darko, and was moderated by Edith Faalong. After you are done reading, please be sure to use the comment section to join the conversation yourself!


Do you feel there are certain attributes women writers bring to their craft that are unique and necessary for telling the story of Ghana, or is gender not a factor?


Edith Faalong:

Personally, I believe women bring more to the table in all spheres of life. Just this morning I was watching a North African movie where there was friction between men and women due to inequality. At the end of the day however, it ended by acknowledging the disparity between the role and status of women in society, but sounded that it will never change!

I say that the extent of this disparity is determined by society. Gender is and will always be determined by society. But in this writing field, the issue of gender does not matter much. Yet women have a broader and richer coverage of emotion than their male counterparts. Their writings especially when it comes to social issues, are hence denser and more specific.

Lets take a book like Une Si Longue Lettre by Mariama Bâ. It recounts the personal narrative of a recently widowed Senegalese woman, Ramatoulaye, in the form of a letter to her best friend from childhood. Following the death of her husband, Ramatoulaye writes to her friend during the period of mourning mandated by her Islamic faith. It goes on to expose the trials of women in the typical African society. I say that a man would not have done as much justice to this story. As a woman born and raised in such a society, Mariama Bâ is able to pull readers to feel what the main characters feel.

Lets also consider the works of Ama Ata Aidoo, Efua Sutherland, or our very own Mariska Taylor-Darko and Emma Akuffo, and we will understand that women bring certain attributes to writing that are unique and indispensable in telling the African and for that matter, the Ghanaian story.


Emma Akuffo:


I agree with Edith. Women are generally more intuitive, more sensitive and more inquisitive than men. We tend to focus on detail whilst men tend to look at the bigger picture. It's nice to see on OGOV that we have captured and blended these gender differences quite nicely!


Edith:

Exactly. The emotions women bring to writing are dense and run too deep to ignore.


Mariska Taylor-Darko:

I also agree. Men tend to focus on the technical side of writing, whereas women tend to write what is in their hearts and I think that tends to have a greater impact on the reader. Sometimes I find it difficult to understand a poem after the first reading because of the elaborate and technical language used by the writer and these often seem to happen when reading male poetry (sorry guys!). I even heard one man comment that I did not have symbolism in my poems and that I was too direct and he went on and on about stanzas and all that. Excuse me, but poetry is an affair of the heart. It is to be read and understood at a glance, not to be analysed and theorised about.


Vida Ayitah:

Good point there, Mariska! A man once commented that I tend to be too "moralistic" in my poems. A kind of executioner thing, he said. But come on! If men can write about cars and call it a genuine "boy thing" why cant women write flowery, flowing girl-poems that speak of and defend their sisters? And yes, poetry is meant to be beautiful and easy, not some math equation to be analysed and brooded over for weeks. Without female writers, this whole world will be one sad grey slate.



Why has Ghanaian writing historically been so male dominated?



Edith:

Honestly I do not have a definite conclusion on this. I however think that Ghanaian writing has been historically male dominated because, in earlier years, the African writer was reacting to strong and sometimes violent social issues which our women were not encouraged to meddle in. It's in actuality a world phenomenon as it applies to early Rome and other modern countries, as well.

Education and socialisation also plays a role in writing and our women were well inadequately prepared in both areas. How then could they put their natural intelligence and sentiments into words? We realise that the advent of gender development and equality coincided with the emergence of the most well known female writers in our world today. I believe men dominated the writing scene because women were not given the opportunity to break in.


Mariska:

Ghanaian writing has been male dominated in the past because to be honest women were relegated to the kitchen and bringing up kids and learning home science, etc. The woman's voice was and is powerful and yet was stifled. Instead of listening to it, people concentrated on what the "learned" men had to say. There is a group in London called "Find your Voice" and I think that is what Ghanaian women are doing today.


Vida:

Honestly, I do not know why Ghanaian writing has been historically so male dominated. Maybe writing had been considered as some kind of "sport" that only the men could participate in. Or it was deemed unfit for women to venture out of the kitchen and waste valuable time on something like that. Don't forget though, that girl-child education had also been strongly opposed around that time, and even the most talented and gifted women do need some form of formal education to express their thoughts.

But I agree with Edith that in earlier times the African writer was reacting rather strongly and violently to social issues and women, as I suppose we all know, are said to be the demure type. But then again, maybe the world just never expected women to be so darn intelligent.


Emma:

We should encourage our girls, through word and deed to aim higher than is expected culturally. They should grow up with the mindset that nothing is impossible if they work hard and are determined. I think it is also a social class issue. The poorer, less literate, families will not prioritise education and may actively discourage girls from pursuing education to a significant level. Therefore, we must not forget to reach out/communicate to these less visible parts of our society. Certain traditions remain but there should me some means of compromise.


Edith:

True talking, Emma. It's all about what we put into the spirit from infancy. Encouragement always goes a long way. Nothing beats the gift planted in the mind, so that should be the target. We can infuse this into our writings from time to time.


Vida:

While I agree with both Emma and Edith, I must also say that from infancy, children should be taught self-reliance. I do not speak for everyone, but from my own family and close friends, I realize that we tend to believe and expect too many miracles. The old saying still rules: that God helps those who help themselves.

We have to, as a people, learn to fight and stay focused on what we want. We must learn to invest the appropriate time and effort into achieving our goals, not spend nights and nights in churches praying and thinking that things are going to happen just because we believe.

Life is no bed of roses, anyone who dreams of being successful must accept the plain fact that opposition is all around. It may come from within or outside. All I am saying is, childhood, for many, is difficult, but this does not mean we're bound to fail. Let us believe that as a people with abilities, we are meant to succeed no matter our background or history. All it takes is hard work. Then more hard work.

Marketplace - Emma Akuffo

At dawn, the masses assemble,
their movements propelled by the rising sun
towards the dirt floor of roadside forges
where the earth has been ferociously shaken.

A kente of vernacular sounds weave men
drawn thoughtlessly from the tribal cauldron,
overlooking diversity, dissonance, and contradiction in culture.
Their flaws and strengths interact in a symbiotic ritual,
a division of labour to fertilise the medieval practice
Where the buying and selling of consumer goods is made easy.

The women cajole in high-pitched voices,
beckoning and haggling for buyers to sample their wares.
Others sit inquisitively like caged hens waiting to be sold.
Their children leap in the stalls as if they grew from them.

You would be surprised what a Ga woman can carry on her person,
adjusting to fit, inelegantly, the sleeping infant on her back
- her sixth; pushed upwards by a calloused left hand
whilst the right secures the excess baggage on her head.

And her life is like that, an incredible juggling act.
She makes a salad of it amidst broken dreams of her dirt floor days,
so she does not beg for bread or cloth to bury her dead.

Distinguished aromas ascend from the stalls -
some are like the colours, bold, delectable, beautiful.
Others are nondescript murkinesses of sweat, toil and tears,
turning the gears behind the scenery of forced encounters between strangers,
exchanging their life currency like a commodity
in return for a fulfilling lunch (breakfast and dinner),
for companionship, for whirlwind romances, for true warmth.

Trying hard not to be cedi foolish and pesewa wise
with borrowed seconds that merge into a goatskin parchment
record of brightnesses and darknesses
reflecting random customs, rituals and superstitions
that portray attitudes towards the world, God, and the cosmos.

Existence is wielded like a broadsword through thrilling and desolate moments,
stopping just before the shadows are cast by tree branches
causing the masses to retreat into the thin air from which they appeared,
their movements dissipated by the setting sun.

And life is like that.

Author Profile - Emma Akuffo

Biography:

The daughter of a Ghanaian diplomat, Emma Akuffo was born in Russia in 1965. Her childhood years were spent in a number of countries including India, Italy and Ghana, finally settling in Britain with her parents, two brothers and two sisters, at the ripe old age of 11.

Emma holds a PhD in biochemistry and works as a Research Scientist. She lives in England with her husband and two children. When she is not pushing back the frontiers of medical science or engaged in a mad rush after her children, she enjoys cycling into the sunset, swimming in moonlit waters and creative writing, particularly from an inspirational perspective.

A number of Emma’s poems have been included in anthologies from Dogma Publications and Forward Press. Her work is also featured at, amongst other places, brightlightmultimedia.com.

Emma’s poem ‘Love spoke’ was awarded a diploma in the UK section of the Scottish International Open Poetry Competition, 2004.

Emma is currently leading a project to anthologise poems previously published here on One Ghana, One Voice.


Five Questions with Emma Akuffo:

1. Was this description of market life in Ghana based on a particular market? A particular town/city?

'Marketplace' is not really based on a particular market, but experiences pooled from all sorts. I went to Tema market last year when I was in Ghana and drove past Accra market several times so I guess they are most vivid in my mind. Unfortunately I did not get the chance to visit the mother of all markets - Makola but I heard lots about it (good and bad)!


2. At what age(s) did you live in Ghana and experience market life? How do you think this influenced your impressions of the market?

From the age of about six, I remember market trips with my grandma in my hometown, Akropong in the eastern region where I spent most of my long vac (summer holidays). I remember the smells, the vibrant colours, the lively banter and how my grandma haggled the price of meat, plantains, yams and vegetables so we could enjoy the most delicious meals!


3. Descriptions of market life have been a common theme - perhaps the most common - of poems featured on One Ghana, One Voice. Why do you think this is? What hold does the marketplace scene have on the poet?

Perhaps the answer lies in the essence that I try to capture in my poem 'Marketplace.' Life itself is a marketplace where we all depend on each other to survive. We each make our respective entrances into this world and leave our mark genetically through our offspring, economically through our jobs or business affairs or culturally through effecting our communities, and then we vanish into seemingly nothingness and the marketplace goes on... Shakespeare coined the phrase 'all the world is a stage' and I say 'all the world's a marketplace'.


4. Can you give our readers an update on the progress of the OGOV anthology project you have been working on. Is there anything our readers can do to assist you?

Ohhh dear...that's the hardest one to answer. Hmm...the anthology exists only on my computer and as 'my list of 'things to do' grows exponentially daily, I never seem to have the time to complete it. However it is a project that is very close to my heart and will get done sooner rather than later. I feel it could do with a few more poems as it is only 72 pages long, and printed double sided will make a very thin book. I'd like to bulk up to about 100 pages so I'd like readers to send in some more poems please!


5. More generally, what writing projects have you been engaged with lately?

My writing seems to have taken a nose dive at the moment as other more pressing issues have taken over but my last project was an anthology of prose and poetry written by myself and two other dear friends of mine, entitled 'Perfume - The Story of a Saviour' featuring 12 women from The Bible. It's awesome!


Contact Emma:
emmaakuffo(at)aol.com

The Mango on the Tree - Emma Akuffo

The mango on the tree
speaks to me
in sly raspy tones that
dull my senses,
pilfering my innocence.

I am enchanted.

I pluck the mango on the tree and eat it,
slowly at first
then gulping it down,
its juices dribble down my chin
and mark the mahogany of my nudity.

I am tainted.

Blinded by the cunning one,
tempted by the power of knowledge
too great for me to concede.

The God of creation
calls out to me
in warm loving tones that
expose my frail humanity.

I make great effort to hide behind the tree.
My nakedness covered by golden green leaves,
unable to conceal my fraudulent identity.

I am evicted.

Abnegated of heavenly responsibility with a terse command
I fall from holy ground into deathly quietness,
woefully stumbling onto the freshly sown grass
from Ghana’s red rich soil.

And I am comforted.

Author Profile - Emma Akuffo

Biography:

The daughter of a Ghanaian diplomat, Emma Akuffo was born in Russia in 1965. Her childhood years were spent in a number of countries including India, Italy and Ghana, finally settling in Britain with her parents, two brothers and two sisters, at the ripe old age of 11.

Emma holds a PhD in biochemistry and works as a Research Scientist. She lives in England with her husband and two children. When she is not pushing back the frontiers of medical science or engaged in a mad rush after her children, she enjoys cycling into the sunset, swimming in moonlit waters and creative writing, particularly from an inspirational perspective.

A number of Emma’s poems have been included in anthologies from Dogma Publications and Forward Press. Her work is also featured at, amongst other places, brightlightmultimedia.com.

Emma’s poem ‘Love spoke’ was awarded a diploma in the UK section of the Scottish International Open Poetry Competition, 2004.

Emma is currently leading a project to anthologise poems previously published here on One Ghana, One Voice.


Five Questions with Emma Akuffo:

1. How long have you been writing poetry?

It sounds like a cliché – but as long as I can remember. Thoughts and ideas captured on scraps of paper from age 9 or 10.


2. Who are your favourite poets? Which poets have most inspired and informed your work?

I don’t have favourite poets but I do have favourite poems: ‘If’ by Rudyard Kipling is one of my favourite poems, also ‘Stop the Clocks’ by W.H. Auden. My inspiration comes mostly from The Bible. Particularly, The book of Job, Ecclesiastes, the descriptive way in which Jesus Christ spoke in the Gospels…"The kingdom of God is like treasure hidden in a field" (Matt 13:44). Wow!


3. What do you hope to accomplish with your poetry?

To enrich a moment in someone’s life, to bless, to inspire, to encourage, to see things in a new light…hopes for a better world. The list goes on…


4. Has your time spent living abroad changed your perception on your homeland?

I’ve lived outside Ghana almost my entire life but my perception always changes when I revisit. Always for the better, I’m glad to say. I’m totally awed by the people, the culture, the scenery, the food…everything.



5. What do you think can be done to better promote Ghanaian literature, and African literature in general, in the UK?

The things that we have already started doing…communication between established between emerging poets (OGOV website is a great forum for this!), putting our heads together to come up with ideas, the anthology I am putting together (thanks to everyone who has contributed so far – the proceeds will be used to fund creative arts in Ghana), everyone doing a little bit to make the collective voice of Ghanaian writers heard not only in the UK but globally!


Contact Emma:
emmaakuffo(at)aol.com