Bücher von Tendai Rinos Mwanaka

The three Ps of art: Poetry, Painting and Photography are conjoined with essays in this artistic offering that deals with what it means to be a poet, what constitute a poem, art, art forms, content, and the poet's vocation. It consists of 33 poems, 40 paintings, 7 essays, 10 photographs and an artist statement. Borrowing from the statement by Robert Duncan that poetry comes from God, and twisting it to mean that anything that comes from God and has a life of its own is a god, the poet here becomes a god. He is a god in the form of Adam who is beholden to the earth. He knows there is no heaven for him, so through poetry he creates a heaven for him and his readers using words, images, metaphors, light, lines, diagrams, circles, space, photography...

FRONTIERS: WILD, SEMI-WILD, HUMAN.... A photographic Novel, is a book of photographs I have taken or worked on over a period of 6 years from 2012 to 2017. I love the concept of writing a novel through photography and that's why I called this book of photographs a photographic novel, for there is a strong narrative dimension in these photographs that creates visual literature. And this narrative link, for a good part, points to the content in the images. They are three countries where I took these photos from; Mozambique, Zimbabwe and South Africa, three neighbours who share borders, languages, cultures, fauna, flora, etc, joined by a bond as old as creation, itself. I decided to work from the wild, to the semi wild, to human, exploring frontiers in these worlds, juxtaposing these worlds, one against the other or all three together in a photo, sometimes obsessively focusing on a single spot, repetitively creating different story strands from that one place, and then combine photography with other visual art medias like painting and drawing thus creating entirely different artworks. It is the essence of my work, to operate at the limit between natural and human landscapes, reality and fiction, nature and humanity, by bestowing an actual dimension to the utopian. The photographs are a celebration of this.¿Tendai Rinos Mwanaka is a multidisciplinary artist, editor, publisher and producer with 26 individual books and over 27 curated anthologies published in the US, Northern Ireland, UK, Cameroon and Zimbabwe. He has 3 music albums playing in at least 18 radio stations in the US, Canada, UK, France, Israel, Brazil and Australia and hundreds of paintings and drawings, thousands of photographs, some exhibited, published and sold. His art pieces have appeared in over 400 journals in over 35 countries and his books and writing are translated into at least 11 languages.

Despite the current economic and political situation in our country, poets, writers, artists, and other creatives have defied the odds and continued to churn their works and submit to produce this marvelous anthology. This eighth installment continues the tradition of giving new writers the platform to shine and to the seasoned writers, a shebeen to meet again and prolong the tradition. We hope you continue to read and follon the Zimbolicious anthology series.

Peace of the Senses: How to Fight the FAGS is a collection of interlinked photographs that deals with the human story in several existential perspectives, especially how we find joy and happiness in difficult circumstances in life. Thus the images in this book celebrate human life, makes funny of difficult situations we go through. There is an element of the comedian in the photos, and it sometimes would create huge howls of laughter, sometimes chuckles and smiles. We go with the adage laughter is the best medicine in this work, and I believe this creates the peace of the senses, as the title presupposes. A set of common themes and philosophical questions permeates the book, bringing the narrative together as an author's self-interrogation through invented others. Detecting the thematic threads whilst paying attention to the differences requires one to experience the book both horizontally and vertically, following a narrative that seems as much widening as deepening.

This collection has 60 poems that tackle spirituality from different perspectives as they also tackle day- to-day activities of the protagonists, from love, truth and lies, what is right or wrong, politics, death, existence, growing up stories, memories, gender and sexuality, what beauty is, etc. And in all these poems there is the search for our beginning (where we came from) to find the path to here (where we are) and what this here represents. A conscious thread runs through and weaves these worlds into some form of religion, an individual spirituality.

The stories in Finding a Way Home tackle many of the experiences of Zimbabwean people, but mostly life in the last few decades: i.e. life during the fight for democracy in Zimbabwe. It also tackles rape and sexual abuse issues, an insight into diseases that are not usually talked about well in Africa, yet they are devastating the continent like AIDS, Malaria, TB; diseases like bipolar, hypertension, cancer. It tackles failure of religious and spiritual beliefs. It delves into early adult coming-of-age stories, love stories in a world in the shadow of the AIDS pandemic, our dire need as humans to want to connect our lives with someone else, especially now in the 21st century and how mostly it is ending in break-ups of relationships and disillusionment. The stories are free of most of the conventions of storytelling. Some stories are like notes, of different people connected to this idea of Finding a way home, talking ... telling their own stories, in their own way. The storyteller also explore storytelling techniques; in having the characters in the stories stamp their own emotions on the page. It is very experimental, challenging and incisive, the stories have the ability to look a subject straight in eyes, without flinching. It is sometimes a fractured narrative with phrases disappearing off the edges, and yet the collection also balances between the exhibit of preciseness use of language and a deeper observation of human behaviour at close range through observing it all like a camera.Tendai Rinos Mwanaka is a Zimbabwean publisher and owner of Mwanaka Media and Publishing, an editor, mentor, thinker, literary artist, visual artist and musical artist with 25 individual books and at least 25 curated and edited anthologies published in Zimbabwe, Cameroon, Northern Ireland, UK, and USA, 2 music albums released and several dozens of songs; hundreds of paintings, drawings, literary pieces and other artworks curated, produced,exhibited and published in over 400 journals in at least 35 countries worldwide. His work has been translated into over 11 languages. His first chapbook of poetry, Disobedience Poems, is published in the UK.

Even though Zimbabwe's ghetto musicians have been vocal in articulating the ghetto struggles through Zimdancehall music, Ghetto literature in the 21st century in Zimbabwe is an area that has scarcely got strong attention from Zimbabwean poets and writers writing now. Yes, we have tackled ghetto subjectivities and difficulties through tackling Zimbabwe's political situation, which I still do in this collection, but I also went further and tackled ghetto as "place literature", developing voices for the masses in ghettos, especially in Zimbabwe's biggest ghetto city, Chitungwiza. The ghetto is a place that changes you in ways that only blues music can manage to encapsulate and like Blues music this collection is both bitter and sweet. A few poems in Ghetto Blues give insight into what shaped the poet, in poems about his birthplace in the east of Zimbabwe, on love, on religion, on race, on migration and xenophobia in South Africa.

This project comes from our need to harness voices in Africa and the Latin America, giving these voices an opportunity to converse, argue, synthesize, agree, and share ideas on the craft of writing, on life, on being, on thinking, so that we will all benefit. Sixty-two writers and poets are included, of which 19 were purely fiction writers, six were mixed genres writers, one a non-fiction writer, one a playwright, and 35 are poets. Altogether there are 92 pieces in two languages: English and Spanish. Starcy Hardy, in the first entry in the anthology, deals with a war situation in an unnamed African country. Afopefoluwa Ojo deals with the personal haunted worlds of the writers, artists or art enthusiasts who dealt with the demons (supposed) in her own unique way. Ayo Oyeku deals with adultery, Ikechukwu Nwaogu deals with abuse and AIDS, Honduran Ludwig Varela describes a Latin America numbed by violence and crime where the family man lives on the border between the legal and the survival instinct, in an asphalt jungle where only the strongest survive. Soira Celestino from Brazil takes us back to the magical world of fairies and the dead in a romantic fable. In the conference of Hocquetot Gustavo Campos makes us witnesses of comic responses from a slightly eccentric writer; the poetry of Argentine Claudio Archubi invites us to dream with its dramatic and somber images at once. Este proyecto surge de la necesidad de tratar de aprovechar las voces de África y América Latina, dando eco a la oportunidad de conversar, discutir, sintetizar, estar de acuerdo, diferir y compartir ideas, puede ser dentro del terreno de la escritura, la vida, el ser, el pensamiento, de modo que todos nos beneficiemos. 62 escritores, de los cuales 19 eran puramente escritores de ficción, 6 escritores de géneros mixtos, 1 escritor de no ficción, 1 dramaturgo, 35 poetas, en total reunimos 92 piezas en dos idiomas: inglés y español. Starcy Hardy en el primer texto de la antología nos describe una situación de guerra en un país africano sin nombre. Afopefoluwa Ojo se ocupa del mundo embrujado de los escritores, artistas o aficionados al arte que se enfrentan a los demonios (supuestamente) en su particular estilo. Ayo Oyeku habla sobre adulterio, Ikechukwu Nwaogu se ocupa de los abusos y el SIDA, de Honduras Ludwing Varela nos describe una Latinoamérica adormecida por la violencia y la delincuencia donde el hombre de familia vive entre la frontera de lo legal y el instinto de supervivencia, como una jungla asfáltica donde solo los más fuertes sobreviven. Soira Celestino desde Brasil nos remonta al mágico mundo de las hadas y los muertos en una fábula romántica. En la conferencia de Hocquetot Gustavo Campos nos hace testigos de las cómicas respuestas de un escritor un poco excéntrico, la poesía del Argentino Claudio Archubi nos invita a ensoñar con sus imágenes dramáticas y sombrías a la vez.Tendai Rinos Mwanaka is a publisher, editor, mentor, thinker, literary artist, visual artist and musical artist with over 40 books published.Rodríguez Ricardo Félix was born 1975 in Caborca, Sonora, Mexico. He studied psychology and has a Master's degree in social science with emphasis in health. Book in English and Spanish.

Between Places is a journal of existential poetry that covers a three year gap, 2017-2020. It is poetry for or from that inner space you create whilst trying to deal with the impermanence, restlessness, constant moving on, living away from home, the exilitic condition resultant of moving into spaces that others you, and how these corrode the sense of who you are and your agency. is a journal of existential poetry that covers a three year gap, 2017-2020. It is poetry for or from that inner space you create whilst trying to deal with the impermanence, restlessness, constant moving on, living away from home, the exilitic condition resultant of moving into spaces that others you, and how these corrode the sense of who you are and your agency.

Zimbolicious Anthology: An Anthology of Zimbabwean Literature and Arts, Vol 5 is the fifth in this yearly journal of Zimbabwean literature and the arts as it happens. The poetry covers a range of subjects; love, spirituality, religion, migration, poet's vocation and as usual the political direction or situation in the country. The fiction deals with a wide range issues, from religious contrivance in Gwiriri's story, drug problem and corruption in Mutize's story, the political and economic strife in Tokwe's story, and the personal trauma story in Chikomo's car accident story.In the nonfiction section we have Muchuri's illuminating essay on another Zimbabwe storyteller, Ignatious Mabasa's Shona books, Zvikomborero Kapuya harks back to the land issue as the starting point and catapult to the misunderstandings between Zimbabwe and her erstwhile foreign enemies, Chikono writes his painful life story on shame families carry when a family member has a child out of wedlock, worst when the child is disabled and Mwanaka has a small philosophical vignette essay on choice.The visual section is heralded by Nhevera's iconic brushworks depicting movement and portraiture, and Mwanaka has an array of art pieces from documentary photography, experimental photography, water colour, computer graphic and installation, wrapping up this new offering.

Drawing Without Licence is a collection of Zimbabwean artist, Tendai Rinos Mwanaka's first 51 drawings and interpretations of his them. Most of the drawings have been published in literary and art journals over the years worldwide and this book will serve as an open ended public exhibition platform for these drawings. The collection contains pieces which deal with the supernatural world, spirituality, philosophy, memory, relationships, love…, and acts as the search for sanctuary and forgiveness for our past failures and fears; and to help us understand our reality and humanity.

Keys in the River: New and Collected Stories, is a cycle of stories about life, love and spirituality, told as if the reader were sitting and listening to neighbors and friends talking about life. Some stories are tender, even comic; in others, tragedy and outrage lurk. The stories share a common thread, a noble stance in the struggle to find love, freedom, completeness, humanness and satisfaction.