By Farayi Mungoshi

AT the recent Zimbabwe International Book Fair (ZIBF) Writers Workshop, I had the honour to share the podium with such greats writers as Aaron Chiunduramoyo, Chirikure Chirikure, Professor Musaemura Zimunya and Dr T.K. Tsodzo.
The workshop theme was ‘Survival in a challenging economy’ and the topic I was given to present was, ‘Working with and within an artistic family in a challenging economy’.
Initially the topic had been given to my mother, Jesesi Mungoshi being the wife of Dr Charles Mungoshi, but she was unavailable as she was tending to some family issues.
I am not given to talking like my younger brother Charles Junior or Uncle Jonah Mungoshi, so I thought I was going to have difficulty at the workshop, but when I saw the topic, I smiled. I did not have to think much at all because all I had to do was reflect on my life, nothing else.
I am a product of artist parents, born and bred in Zimbabwe. I believe that the arts industry (particularly the writing sector) in Zimbabwe will one day rise above the current challenging situation to greater heights we have ever experienced before.
But for that to happen, there are issues we first have to confront. Such as; I am because we are, and we are because I am. If I am a writer, I need a publisher and if I am a publisher I need the writer; the recognition that we need each other. But the attitude writers have received seems to suggest otherwise in our beloved Zimbabwe and this was evidenced at the workshop as emotions shot high between publishers and writers.
One day some years ago my father took me to a certain publishing house and he introduced me to one of the workers there.
“I want you to learn and understand what goes on in our industry,” he said. “You see this man here?
“If you ask him nicely he will tell you the truth about what they (publishers) do, things that they don’t want you as a writer to know.
“Handizvo here Chimhandara?”
The woman smiled and revealed that there were indeed two books, one with actual print run and sales by publisher and then the other one that they show the writers with lesser amounts.
Father laughed at this and gulped his brandy.
I did not understand then, but when my father fell into a coma in 2010 and we found ourselves unable to foot his hospital bills, I then woke up to the realisation that he was actually saying even from the little 10 percent entitled to most writers, publishing houses would still steal from them.
Most writers agreed with me at the workshop when I raised this issue.
“It is not right that publishers should drive fancy cars while writers walk around on foot,” they said.
I am not writing to attack publishers, but how does one explain a year’s sale of only
4 000 copies of a novel that is being written for ‘O’ Level by over 200 000 students countrywide?
Such is the case with one of Charles Mungoshi’s books which is currently being studied for ‘O’ Levels by students across the nation.
You start to wonder whether it is piracy, or whatever.
“Or are the publishers the pirates?” as someone at the workshop asked.
We, as a family have already written this particular book off because it is now our understanding that publishers will always blame piracy.
Personally I think the pie is too big, even if the pirates should eat some of it, there should still be enough for a writer to at least buy a house in Chitungwiza but instead he ends unable to pay his hospital bill!
Professor Musaemura Zimunya who was chairing the workshop at that particular time smiled and said, “Things are warming up now,” as writers aired their grievances in connection with my testimony.
“Vanhu ngavataure, zvanyanya izvi,” Dr T.K. Tsodzo who was sitting next to me on the panel mumbled.
He also has several books with publishers, but he also has unanswered queries as far as royalties are concerned and when he was asked whether he was a happy man concerning all that was happening he retorted, “No!”
Beatrice Sithole declared that it was clear she was making more money self-publishing than other writers were making with the publishing houses.
Chirikure Chirikure joked he drove a fancy car during his years at College Press.
Most writers are not even driving, they can’t afford to even though their works should enable them to.
Another factor is that most books are overpriced making it difficult for students to purchase hence forcing them to buy pirated copies on the streets despite the fact that the average book costs approximately US$2,50 to print.
By overpricing, we are fuelling piracy.
I believe this problem can easily be solved, all it requires is for us to go back to unhu hwedu, taking care of each other instead of thinking of our own stomachs.
If we look at most contracts writers have, you will find that they are the same used since time immemorial.
Most of these contracts are life-binding and unfair.
Maybe it’s about time we ask ourselves who really are we binding, who are we short-changing?