This paper presents an edited version of a hand written text in Shaba Swahili and French, accompanied by an English translation. The original text was written in ballpoint by a Shaba Zairean ex-houseboy, and sent to his former employer in Belgium It provides an account of his life, with special focus on the period after his Belgian employers left Zaire in 1973. It documents the conditions of hardship in the life of a semi-educated Zairean and provides a detailed account of the migrations he has to undertake in order to find means to support himself and his family. The author Wiote the `recit` at the request of the former employer`s wife, as a symbolic way to repay the debt he had incurred over the years in which he had received money and other goods from the Belgian lady. The text was sent to me by the former employer, who asked me to translate it into Dutch. The former employer granted me the permission to edit and publish the text in its totality. For reasons of privacy, we decided to alter the names of the people mentioned in the text. Thus, for instance, the employer is named Andni Deprins, his wife (who is the central addressee of the text) Helena Arens, and the author of the text is identified as Julien.

The 6th National Book Fair in Nairobi, Kenya, in September 2003 saw a new publication in the field of Swahili literary studies that should draw the attention of Swahili scholars in and outside of East Africa: the first comprehensive literary dictionary in Swahili language. Kyallo Wadi Wamitila, who is currently Senior Lecturer for Swahili Literature and Literary Theory at the University of Nairobi, has committed more than a decade of meticulous research to compile this major work. It comprises roughly 1.300 entries, arranged alphabetically, ranging from adhidadi (antonym) to muhakati (mimesis), tashtiti (satire) and zila (tragic flaw).

In the traditional Swahili literature description has a secondary role. Characters` portrayals are limited to a few stereotyped attributes, because they represent types, not individualized characters The model of women`s beauty is taken from Arabic literature: round face, black, flowing hair, big eyes, teeth like pealls with beautiful gaps in between, slender neck... This model is valid to a large extent also in modern novels.. Thus, the complexion of an ideal woman is as clear as possible; even up-rountry heroines are often light-roloured `as a half-cast` or at least bronzed. They are preferably of medium height, lump, but with a slender waist and well-shaped legs.

Between 1977 and 1980 I collected a nuber of texts on the northern Kenya coast Most were tape recorded by myself fiom oral performances, a few were written down or recorded by others Most of the current collection consists of texts gathered so, plus: the Mwiini material, provided by Chuck Kisseberth, originally provided or recorded in Barawa by M I. Abasheikh, and the Bajuni \"contemporary\" verse, taken form a publicly available cassette-recording by AM. Msallarn in the 1970.

This paper presents an edited version of a handwritten text in Shaba Swahili and French, accompanied by an English translation. The original text was written in ballpoint by a Shaba Zairean ex-houseboy, and sent to his former employer in Belgium. It provides an account of his life, with special focus on the period after his Belgian employers left Zaire in 1973. It documents the conditions of hardship in the life of a semi-educated Zairean and provides a detailed account of the migrations he has to undertake in order to find means to support himself and his family. The author wrote the `recit` at the request of the former employer`s wife, as a symbolic way to repay the debt he had incurred over the years in which he had received money and other goods from the Belgian lady. The text was sent to me by the former employer, who asked me to translate it into Dutch. The former employer granted me the permission to edit and publish the text in its totality. For reasons of privacy, we decided to alter the names of the people mentioned in the text. Thus, for instance, the employer is named Andni Deprins, his wife (who is the central addressee of the text) Helena Arens, and the author of the text is identified as Julien.

Chachage Seithy L. Chachage amepata kuandika riwaya nyingine tatu: Sudi ya Yohana (1980), Kivuli (1984) na Almasi za Bandia (1990). Riwaya yake ya nne Makuadi wa Soko Huria (2002) ni ya kihistoria na yenye upekee wa maudhui, muundo na mtindo. Vipengele hivi vinadhihirisha ukomavu na upeo wa juu wa mwandishi ilimradi kwenda sambamba na changamoto ya utandawazi ya karne ya ishirini na moja ya milenia ya tatu. Mwandishi amekitabaruku kitabu hiki kwa kumbukumbu ya Mwalimu Julius Kambarage Nyerere (1922-1999).

Book Review: Mirza, Sarah & Margaret Strobel (ed.) 1989. Three Swahili Women. Life Histories from Mombasa. Bloomington & Indianapolis: Indiana University Press. and Mirza, Sarah & Margaret Strobel (ed.) 1989. Wanawake watatu wa Kiswahili hadithi za maisha kutoka Mombasa, Kenya. Bloomington & Indianapolis: Indiana University Press.

It is heartening to note that the number of contemporary Swahili scholars whose work is receiving attention in books and university theses is steadily on the increase. This volume adds Abdilatif Abdalla to the list containing, so far as I know, the names of Muhammed Said Abdulla, Ebrahim Hussein and Euphrase Kezilahabi It is a volume on the poetry of Abdalla which Nyaigotti-Chacha writes with wrumth, understanding and a desire to place in perspective the poet`s works, in particular, Utenzi wa maisha ya Adamu na Hawaa (1971) and Sauti ya dhiki (1973) For this reason, perhaps, it tends to be less critical and more informative Nyaigotti--Chacha divides his work into four chapters. The first chapter introduces the reader to the author`s reasons for undertaking to Wiite it, originally his M A thesis at the University of Nairobi (1980) A bdefbut useful biography of Abdilatif Abdalla (ppJ-9), and a theoretical orientation to the author`s analysis of the works (pp 9--11) - socialistic in the Marxian mould - furnishes the reader with the background required fm a better understanding of what follows in the next two chapters which examine Utenzi and Sauti .. respectively The final chapter investigates the skills of Abdalla as a poet

Irony is a widely used device which plays a large role not only in conversation, but also has impacts on our daily thoughts. In literature, the device of irony has been used in the past and it is still being used by writers today so that readers can think deeply on the presented topic and understand the message and the intended concept. Wamitila (2008: 409) finds that irony is among the many devices which facilitate our conversations, mostly with its capability of indirectly revealing our hidden feelings, views and perspectives. According to Mbatiah (2001: 27) irony is a concept used in speech which can cause a painful realization. This article discusses the methodologies and different strategies applied in the use of irony within Kiswahili literature. The main argument within the article is that irony can cause the reader to indirectly recognize a deeper meaning within the text. The basic assertion in this article is to highlight how irony has played a large role within Kiswahili literature before independence, after independence, within the Arusha Declaration, and up until this time of globalization. / Kejeli ni mbinu pana, ambayo huchukua nafasi kubwa na kutoa mchango wake si katika mazungumzo tu bali pia katika utoaji wa awazo yetu ya kila siku. Katika fasihi, mbinu ya kejeli imetumiwa na inaendelea kutumiwa na waandishi ili kuiwezesha hadhira/wasomaji wafikirie kwa undani suala linaloongelewa ili waweze kupata ujumbe uliokusudiwa kufikishwa kwao. Wamitila (2008: 409) anasema kuwa, kejeli ni mojawapo ya mbinu zinazotawala maongezi yetu hasa kutokana na uwezo wake wa kuficha hisia, maoni na mitazamo yetu sahihi. Kwa maoni ya Mbatiah (2001: 27), kejeli ni maneno yanayotumiwa katika matamshi kama hayo huwa ni ya kuchoma, kukata na kutia uchungu. Makala haya yanajadili kwa kina njia na mbinu mbalimbali zilizotumika katika kutumia kejeli katika fasihi ya Kiswahili. Mbinu inayoongoza makala ni ile inayoitambua kejeli katika hali ambapo kuna kinyume na Fulani katika usemi, hali au tukio. Suala la msingi katika makala haya ni kuonyesha jinsi mbinu ya kejeli ilivyooneshwa katika Kiswahili kuanzia kabla ya uhuru, baada ya uhuru, azimio la Arusha hadi wakati huu wa utandawazi kumeisaidia kwa kiasi gani jamii ya Kitanzania.

Obituary in memory of Ben Rashid Mtobwa, a Tanzanian writer.