Harare Review of Books

230 pages.

Expected publication date: August 1, 2023 (Catalyst Press)

Fiction/fantasy.

Going in, I was very nervous about this graphic novel for three reasons:

1. It draws on the mythology of Nyami Nyami/Nyaminyami, which properly belongs to the people of the Zambezi Valley (—so, cultural appropriation), and the authors are White men;
2. “Salisbury” was one of the first things I saw, and that gave me very real palpitations;
3. The main characters are indigenous people, and again—the authors are White men.

Those feelings didn’t really leave, but I am glad to report that this is a beautifully executed graphic novel, with a pretty fun story. Set in the Zambezi Valley, this is the story of Siku, a little girl with special powers connected to Nyaminyami, and she is adopted as a baby by Tongai, a kind man who only wants to protect her. When Siku’s powers start threatening to overwhelm her, Tongai goes to the Kariba dam wall, which is still under construction, to make alliances in order to kill Nyaminyami.

The characters and artwork are wonderful. The story focusses on young people—Siku and her new friend, Amedeo, the son of an Italian engineer. There are baddies and goodies, and baddies who realise the error of their ways. Kariba is frequently funny. It also feels historically accurate (enough) in relating the plight of the Tonga who were displaced during the building of Kariba Dam.

But, to my worries. Although the team working on the novel appears to have included (going by names) an indigenous person, I am not clear about how much consultation the Clarkes did—which strengthens my concerns about appropriation. The peoples of the Zambezi Valley are minorities, and don’t often have a chance to tell their own stories. Secondly, some liberties are taken with the mythology of Nyaminyami—and, again, although this can be done in the service of fantasy and storytelling, I feel it’s best done by the owners of the mythology—or, perhaps, in consultation with them. My other worry, about the Rhodesian setting, is somewhat allayed by the fact of historicity, the story being set in Rhodesia during the building of Kariba Dam in the 1950s; however, the novel is never completely truthful about the colonial setting, which … I mean, it is aimed at children, and you can only do so much with the medium, but it does raise some issues.

So, conflict on my part. Kariba is a beautifully realised fantasy adventure, and Siku is gorgeously drawn. Her arc is perfect, from a seemingly happy and mostly untroubled childhood, through internal and external conflict, to realising her identity. I would unhesitatingly recommend this beautiful graphic novel—except for those troubling elements mentioned above. It raises the question all over again for me about who is allowed to tell a story, and I feel there must be a way to find a balance.

So, highly recommended, with reservations. See for yourself. If I bought it for any young people, I would take the time to explain my reservations and thoughts, before letting them enjoy the story.

Thank you to Edelweiss and to Catalyst Press for the DRC.