Writings of the general word's body

Sunday, April 29, 2007

New Reads

In Adetokunbo Abiola's 'Late Repentance', Thomas decides that he loves the girlfriend he once discarded after all. So he goes in looking for her...

Big gates screened Patience's house from where he parked on Oziegbe Street. He remembered that last year when he called the ground in front of the one storey building stretched to the road. Trees and a lawn sprawled round the compound when he left the car and stood by the gate. He noted that previously dirt surrounded the building, rubbish littered the steps. New sheets roofed the building when he walked by the lawn, fresh paint scented into his nostrils when he approached the house. He recalled that last year rusted sheets roofed it and it smelt of cassava, fried eggs, and dust. But the greatest change he found was not the gate, trees and paint: Patience and her family had packed out.

Will he succeed? Read on.

~ * ~ * ~

And Tolu Ogunlesi's 'The Woman Whose Eyes Were Dry' is published in the Arabesques Review.

Simbi’s husband and first son were dead, but she didn’t cry for them. Grief evaded her eyes, her heart, disguised past the checkpoints of her soul. It didn’t take very long for the news to spread around town. That there existed a widow who hadn’t cried since the moment her husband and only son passed away.

Strange... Read on.

Prize Season

Chinua Achebe is one of 15 authors up for this year's International Booker, and Chimamanda Ngozi Adichie is a hot contender on the Broadband Orange shortlist - her second time - with her second novel, Half of a Yellow Sun (you can vote for the Readers' Award here).

And we're not even talking the Caine Prize (shortlist announced next month) yet! (
on second thoughts, you might want to see this post on UKNaija...)

  • Also, A Bull Man's Story, by Nigerian Abubakar Adam Ibrahim - is the winning play of the BBC World Service's African Performance Play Writing competition 2007.

Update 2 May - Chimamanda Ngozi Adichie will be giving a reading & a talk @ Drexel University's Living Arts Lounge, Creese Student Union Complex (32nd & Chestnut Streets), Philadelphia - @ 2pm on Friday 4th May.

Meeting Funmi Adewole

This is poet Funmi Adewole who is based in the UK and is known more as a dancer these days. I photographed her at the Chima Ubani tribute on March 17 @ SOAS. I'd never met her before, only knew her name. And maybe it was the warmth with which Ike Okonta exclaimed, "Funmi!" when he saw her, that alerted me. She moved to the UK in the 90s, and did consider going back to Nigeria some years later. When she visited home, she found that most of the writers she knew in the generation had, in her words, "dispersed" - all over the world. She is trying to get back into writing, which was music to my ears.

Talking 'Othello' with Teju Cole

I had a bit of dialogue with writer Teju Cole on his blog recently, about a posting he did on Shakespeare's Othello. How does a non-white actor play Othello without reinforcing the play's inherent racial stereotyping (I almost typed 'racial profiling', which is another kettle of fish entirely!).

Teju's blog is intelligent and thought provoking without stuffiness or posturing. Here's his
post on Othello. Some of our exchange, is excerpted below, with Teju's permission.

MW: I have read Kwame Kwei-Armah's & Hugh Quarshie (who has played Othello before, I believe)'s thoughts on this matter before. Reminds me of a review I wrote of a production of Othello at the Trafalgar Studios in London back in 2004 in which I also touched on Quarshie's essay (I'll see if I can dig out my review). The production starrred Nsello Maake Ka Ncube as Othello; see a poem I wrote about meeting his eyes during the performance, as one of only 2 0r 3 black people in an audience of 300 or 400.

The saving grace, if you could call it that, was that Anthony Sher's Iago was a Heil Hitler type sniggering over-the-top character you cannot identify with at all, whatever your race; problem is, Shakepeare intended that you dislike Iago, so nothing really new there. The setting was moved to something like second World War Venice; a few of the other minor characters were played by blacks actors. Still, this overiding question of race was overwhelming in the production, for me. And if you were to cut out stuff like: "These moors are changeable in their wills" or references to the "black ram tupping your white ewe" - you would not have the play Othello. I actually love this play, for the very reason that it is not just a great tragedy, but also because it discomfits me and discomfits the person next to me.

What I feel is that, the racial connotations of Othello changes depending on (1) where it is staged; (2) the racial composition of the actors; and (3) the composition of the audience. If you had a production of Othello in Lagos with Nigerian actors playing to a Nigerian audience, the emphasis on character rather than race as suggested by Quarshie, would come to the fore. Any other way, it remains problematic. And you can't have a white (un-blacked out) actor play him because Othello is necessarily black ("Happily, for I am black").

A black actor playing Othello in a largely white cast to a largely white audience may unwittingly validate racial stereotypes. But I am of the view that it is a darn sight better than Laurence Olivier "blacking up" to play Othello, something that was once the norm. And since Shakespeare himself wrote the part for a white actor, the very notion of a black actor taking over the role is a subversion of sorts, and that pleases me. And when we think about it, some great black cultural icons (Paul Robeson, no less) have played Othello. Quarshie himself shows from his essay that he had ruminated so much about the role that (though I never saw the production that featured him) one cannot doubt that he approached the part with a great sense of responsibility. What is needed, are talented black actors with the presence of mind and self awareness to help them transcend the stereotypes.

We must carry on seeing productions of Othello, because I see shades of the moor and the societal factors that made and broke him, all around us everyday. Quarshie's examples of Dodi Fayed and O J Simpson (him especially; who lived in a white world only to embrace his blackness on a rap for the gruesome murder of his wife, someone that was a consuming passion to him - poor Nicole, God rest her) were on the ball, and I noted this in my review. I added to Quarshie's list a black boxer (I hesitate to name him still) who wasn't such a good pugilist but was adored by the British public because he was (maybe still is) the kind of black man that made whites comfortable, reinforced their sense of racial superiority. He wasn't clever, he knew his place, he made black people cringe in their seats (Caribbean or African, I am yet to meet a black person who was proud of this guy even in his glory days). The boxer was greatly rewarded for his modest talents when better black British boxers didn't fare so well. Crucially, he had a white wife. Since he's been divorced, the facade seems to have been blown and the boxer is now just a pathetic loser, though rich. So there you have it.

Othello is all around us. Long live the play, "flawed" though it is.

~ * ~ * ~

TC: Though I'd assent to some judicious editing of the play's text (it's controversial but, like Quarshie, I don't believe in being enslaved to the text--and how many people do full length Hamlets anyway?), I also hav to say a black actor in the troubling role is a damn sight better than Lord Buttermelt done up in blackface.

Blackface is its own thing, full of rotten history, impermissible to anyone except, perhaps, to teenage Japanese girls who are so far off the kooky scale they aren't any of our business.

Your poem of Nsello reminds me, Molara, of one time I went to see Seamus Heaney give a talk in New York. The audience was large, but only two of us had the touch of the tar-brush, just me and another, older, man.

Five minutes before the event started, I was in my seat. The room was almost full. That was when two white women walked across the room and said to me, "Could you please do something about the air-conditioning." Wit failed. And all I could say in response was a prosaic, "I'm here for the poems, too" and thank the gods these fools hadn't approached Derek Walcott instead.

~ * ~ * ~

MW: "Could you please do something about the air-conditioning"?!

What a cheek! I'd have to say they're a lot more polite and reserved in England, to say such.
Derek Walcott, ehn? You were in esteemed company, mai broda.

An English colleague who worships black Jazz gods told me he's noticed some serene sense of joy that shows upon the bearing of black jazz musicians when they spot their kind in the crowd during concerts at the Queen Elizabeth Hall or such places, since the audience is mostly white for these shows. I admire white audiences for turning up purely for the love of the arts (they turn up for Malian & Yoruba musicians too and clearly enjoy themselves, even as they don't understand the lyrics). There's been a slight increase in black attendance for Nigerian/African artists in recent years - but I remain baffled as to why blacks generally stay away.

As someone who goes to art events a lot here in London, one regularly feels like an endangered specie in the audience, especially in the theatre (must be even worse at the opera, though I must confess I'm as guilty as the next woman when it comes to opera!). Your skin colour suddenly becomes so magnified. You wear it loose on you, like an oversized cross. And it's so lonely. Then think how it is for the black player who can't find anyone he/she can identify with in the audience.

Much as any player loves to play to all of God's children, it helps sometimes if you can get that specific identification allowed by your kind. That was what happened when Nsello saw me in that audience. The loneliness of the black in Elizabethan period Venice was in that theatre filled with white people in 2004. I felt some racial angst. It wasn't just about Othello anymore; it was about me too.

That's what I love about theatre. The danger.

Kwabena's Cultural Literacy

Roi Kwabena (left), poet and editor of Dialogue - a journal for cultural literacy - seen here with Austria-based Zimbabwean sculptor, Tapfuma Gutsa. Photographed at the opening of From Courage to Freedom.

Kwabena poses (right) with artist Siobhan Lennon, who is featured in the current issue of Dialogue - a special edition in commemoration of the bicentenary of abolition of chattel slavery.

Kwabena is a busy man, and maintains a number of blog sites including
Dialogue4Culture & Cultural Literacy

October Gallery

Here's artist Owusu-Ankomah, photographed by me at the opening of the From Courage to Freedom exhibition. The exhibition is extended till the 12th of May @ The October Gallery, London.
The October Gallery hosts Imprint on Lagos - a Bukka Event - on 19th May. An illustrated talk on the effects of the abolition of slavery a modern African metropolis, speakers include Kaye Whiteman (editor of the defunct West Africa Magazine; he is writing a book on Lagos), Giles Omezi & Sola Ogunbanjo, Director, Bukka Research.

  • Time of the Bukka Talk is 3 - 6pm on Saturday 19 May 2007.
  • Artist Siobhan Lennon (top right) beside an El Anatsui bottletop cloth.
  • I thought Dominique Eyoun (a Paris-based Cameroonian) - on the right - was a moving piece of art in herself. She happily posed for my camera.
  • Pics taken at the October Gallery, 21 February 2007 - by MW.

Monday, April 23, 2007

Labyrinth of Memory II

'Art is Important'

Nigeria has been at the polls and we look anxiously on. I've had so many worrying sms messages from Lagos and Ibadan in the last week, and one can only read and sigh - or shake one's head in quiet amazement at some of the unbelievable goings on. Many bloggers have filed in post after post on the elections, one of whom is Sokari Ekine of the Blacklooks blog. She has a list of the bloggers who have posted on the Nigerian elections here. These bloggers are doing a wonderful job of bringing the Nigerian polls to the blogsphere. Wordsbody will keep up the loose focus here, on the arts, because as Nicole Kidman once declared and I agree, "Art is Important".
Above is a newspaper cutout (Metro, 22nd February) that I've been meaning to post. Just as well, that the 'Africa on Trial' headline should be blogged during the aforementioned elections... Metro included Abderrahmane Sissako's film, Bamako, on its list of films Londoners must see. But something struck me. Africa on Trial's accompanying text reinforces the misrepresentation of the header. No mention of the fact that it is actually the West and her financial institutions that go on trial in the movie. An indication, perhaps, of the West's inherent unease with the message of Bamako.

Gay Afrique

As with the previous post, we're staying with The Guardian, this time the April 14th edition, which had a centrespread on 'The gay globe'. The feature used a colour code to show how gay people fare under the law in countries across the world. Countries with liberal legislation on homosexuality are tagged with pink balloons. Nigeria is one of the 'dark blues' where a gay person may expect a grim treatment under the law. According to the Guardian, the family of one Emmanuel Obahiaghbon reported him to the authorities last year and requested that he be sentenced to death by stoning. The piece did not indicate whether the poor man was reported in the 'Sharia' states of Northern Nigeria. But I'd be very surprised if anyone, whatever their orientation, can be stoned to death South of the River Niger.
The Africa segment was illustrated with an image of Nigerian gay activist, Bisi Alimi, engrossed in a copy of the Gay Times, supposedly in Lagos. As it happens, an interview with Alimi is in the current issue of
Farafina Magazine. The interview is available online.
The current issue of
Wasafiri (Issue 50) focuses on the 'Queer Postcolonial'. Among the contents is an essay, 'If You Like, Professor, I Will Come Home With You' - a re-reading of Wole Soyinka's The Road - by academic Chris Dunton.
Sable Litmag also did a recent LGBTQ issue (issue 9) with a spotlight on Jackie Kay.

Naija Takeaway

On March 31st, something or other prevented me getting my copy of The Guardian on Saturday, without which no weekend is complete. All was back to normal the following Saturday (7 April) however, and I found that the covergirl for the Weekend Magazine section for the 31st had in fact been Camilla Parker-Bowles, recently restyled and 'refurbished' as the Duchess of Cornwall - someone I never thought I'd have to mention on this blog. Call me a Diana freak, but I don't like the sight of Camilla. Certainly not my idea of a covergirl, so I was suddenly glad I'd missed out on The Guardian of the 31st.
And the Magazine section of April 7 was a delight (from the Reader's Letters page - where they usually write in on the previous week's content - it was evident most Guardian readers had chosen to ignore Camilla too, and talk about other things), and the Weekend magazine served up a mouth watering array of UK Takeaways - foods from different parts of the world. I kept flipping through the pages thinking: Where is Nigeria?

Nigeria was on page 42 (see pic), and the restaurant was well chosen. Though I haven't eaten out much at Nigerian restaurants in recent years, there is no denying the choice is wider than ever, with several popular places in my corner of London alone. Obalende Suya, situated at a well trodden spot in Kingsland Road, Dalston is one of the pioneers. Everyone's been there before at some time or other. According to The Guardian, Obalende Suya still comes highly recommended, and in this edition, the proprietor,
Toks Odebunmi, gets a page to talk about his eatery. A Goat Suya, we are told, will set you back £5.98, which by UK standards isn't bad.

Sunday, April 22, 2007

Wedding Belles

Yesterday was a lovely day for a wedding in London, and I was in for the long haul (Church, Reception, followed by a change of clothes for a night party till the wee hours) for the wedding of two old friends. And so many of the old faces that have peopled one's Naija-England life over the years, were present. A grand old reunion. And a fun time was had by all...

These are some of the immediate scenes after the church blessing. I'm the one seeming not to comply with the dress code in the middle pic, but not to worry, I was in regulation 'Owambe' &Co styling for the evening party. To the right, are 4 ladies: Alero of Lagos-based Hallero designs, who naturally, was in charge of the &Co outfits for this wedding; Ireti, fashion writer & stylist of the blog, Sisioge; others in the photo are Telemi & Sola.

Tuesday, April 03, 2007

Slavery - Alternative Voices 3

Uncomfortable Truths, Hidden Histories, Unheard Voices

You will by now have heard or read something about Uncomfortable Truths, you might even have seen the exhibition for yourself. I haven't been there, but I know a man who has. Poet Odia Ofeimun was at the V&A Museum yesterday and in a telephone conversation, expressed serious misgivings about the much talked about exhibition on Slavery. And from what he has to say, it seems clear that the subject of Slavery remains an 'Uncomfortable Truth' indeed - especially here in the heart of the British Empire.

Ofeimun observed that Britain has more resources than many African countries to mount a large scale exhibition on Slavery, but the V&A effort seems to him a wasted effort, and deliberately so. "It's as if the attempt is to make it impossible to really know the story of the Slave Trade."

Uncomfortable Truths, the poet reported, is scattered all over the museum amongst other unrelated exhibits, so that the viewer is made to go round searching - and sometimes failing - to find it. "It is expressed in terms of a conversation with the pre-existing artworks in the museum, so that the story of Slavery is actually hidden in the place. Hidden in other stories."

The installation that comes the closest to telling the story is an Audio-Visual which, crucially, is unaccompanied by any visuals. The very powerful, painful and at times beautiful images of Slavery - are left out. As for what the audio-visual says, it went something like (and the blogger paraphrases): I was once a king but now I make rings. I have rings. Or something to that effect.

Images - or the lack of them - led Ofeimun to share his impressions of Goree Island in Senegal, where millions of African were shipped off into bondage. "I went to Goree. I was angry." In Goree, the images that tell the story of the enormity of Slavery survive, but they are being eroded due to ineptitude and carelessness on the part of those responsible for the UNESCO World Heritage Site. "It is painful," Ofeimun said. "Our leaders are in a mess, sucking up to the West so much that they don't want to offend. It's as if, 'don't tell them too much' so they won't be angry."

Still, in Goree, you see the images and that counts for a lot. "What I saw in Britain (and the V&A) is that the story of Slavery is being destroyed. It is not ineptitude or anything like that, but a deliberate watering down." Ofeimun added that what passes for images in Uncomfortable Truths are often quite bland. He described a sculpture of a headless hunter in adire (tie & dye) fabric (presumably by Yinka Shonibare) which, if you saw it outside of the context of this exhibition, would tell you nothing. Many viewers brought children to see the exhibition and Ofeimun regretted the fact that the children would actually learn nothing about the brutality of Slavery from Uncomfortable Truths.

The poet touched on Charles Dickens' Great Expectations which "told the story of gentlemen being made in Britain by the money from the Slave Trade," with only the merest nod of acknowledgement to Slavery itself - and Jane Austen's Pride and Prejudice which simply washes over the whole subject of Slavery. That white-washing, talking-over, call it what you like "is still being done," according to Ofeimun.

"It's a travesty," he declared.

  • Uncomfortable Truths is at the V&A until 17 June.

Slavery - Alternative Voices 2

"I am a human being; I am a woman; I am a black woman; I am an African. Once I was free; then I was captured and became a slave; but inside me, I have never been a slave, inside me here and here, I am still a free woman." In the course of three hundred years some twelve million Africans were forcibly transported across the Atlantic to serve European settlers and their descendants. Only the barest fragments of their stories have survived. Manu Herbstein's ambitious, meticulously researched and moving novel sets out to recreate one of these lives, following Ama, its eponymous heroine, from her home in the Sahel, through Kumase at the height of Asante power, and Elmina, centre of the Dutch slave trade, to a sugar plantation in Brazil. "This is story telling on a grand scale," writes Tony Simões da Silva. "In Ama, Herbstein creates a work of literature that celebrates the resilience of human beings while denouncing the inscrutable nature of their cruelty. By focusing on the brutalisation of Ama's body, and on the psychological scars of her experiences, Herbstein dramatises the collective trauma of slavery through the story of a single African woman. Ama echoes the views of writers, historians and philosophers of the African diaspora who have argued that the phenomenon of slavery is inextricable from the deepest foundations of contemporary western civilisation."
  • Ama - A Story of the Atlantic Slave Trade, written by Manu Herbstein, winner of the 2002 Commonwealth Writers Prize for the best first book. Visit the website & buy the book.

New Reads

I saw someone reading Granta 97 on the tube last week and I almost blurted out, "Hey, I've also got a copy of that!" Don't blame me; one doesn't always see people reading Granta on the London Underground. Even I don't read it on the London Underground, more like at the bedside, but hey, I digress.

Author of Beasts of No Nation, Uzodinma Iweala, is on Granta's list of the Best of Young American Novelists, a list that includes Jonathan Safran Foer. Apart from the fact that each novelist will be expected to have a stellar future career in books, the really good thing for the reader is, we are presented with a new short story each from the bright young things. Iweala's story, Dance Cadaverous, is a very surburban American short story. Daven kissed his late best friend Zhou - but he tells his father, "I'm not gay." And as the story nears its end, our main character wonders if he can have his heterosexuality back.

Read the story in Granta 97
Jumoke Verissimo's story, Come Away, Poverty's Catching is about just that - poverty so grinding you fear it will stick to you. It's also an opportunity to present some colourful excerpt on this blog. Here goes...

Baba Rasaki's sons had been forced to fend for themselves doing odd jobs, and their father always stole from them. When they challenged him, he would curse loudly and lengthily in Yoruba, "God finish your mother's cunt! You, this bloody, motherless boy. You think you have a mother; what you have is a murderer. And that murderer of yours is in Aro mental home with roaches in her buttocks!"

-Read on

Slavery - Alternative Voices

Recently, I saw Moira Stuart's documentary, In Search of Wilberforce, in which the newsreader (since deposed at the BBC after over 25 years) went in search of alternatives to the William Wilberforce myth. In Montego Bay, a local historian stood under the bell tower where many abolitionist heroes were hanged in the name of the British Empire and declared, "If England wants to make William Wilberforce the hero, that is England's business. We are saying these [the likes of Jamaican National hero Sam Sharpe] are our the heroes that we want to honour for the end of the Slave Trade.

After seeing that documentary, I yearned for more alternative voices, and out came
Toyin Agbetu, seemingly out of nowhere! He disrupted the service at Westminster Abbey on Tuesday 27 March in commemoration of the Abolition of the slave trade, shouting, "This is an insult to us!" Too right! I don't know what they mean in the above newspaper cut-out when they say, "The Queen and Prince Philip look on." I seem to see the Queen (top right corner of the pic, in hat) doing her best to ignore the whole thing. Says a lot.
See videos of Toyin Agbetu in action here - with thanks to the wonderful professor of African theatre who sent me the link!
The Agbetu protest brought about some interesting comments on newspapers readers pages in the UK, like these ones (right) in the Metro of 29 March. The second one down really caught my eye, as illustrating the problematic nature of identity in today's world. Here was someone named Kwaku Antwi-Boasiako (as derivative of Ghanaian civilisation as any) writing to say:
"We are often remorsefully cacophonous about the injustices our predecessors inflicted on the Africans. But are we truly ashamed of our ancestors' inhumane treatment of the African people?... If we Westerners..."
Well, you get the idea! Excuse me, Kwaku, but "Our [Western] ancestors"? "We [Europeans/Westerners]"? Hello? Is anybody home?
I wondered if Mr. Kwaku stopped to consider that the average Westerner with which he aligns himself - would see his name and identify him (and not unreasonably so) as one of those 'Africans' whose ancestors suffered in one way or another because of the Transatlantic Slave Trade.

Galaxy Book Awards

The great British public voted for homegrown writers, and so Chimamanda Ngozi Adichie didn't make the first 3 in the Richard & Judy Best Read at Galaxy British Book Awards. Jackie Kay did however win the 'Writer of the Year' for her collection of short stories Wish You Were Here - something she noted would not harm the resurgence of the short story genre. Kay (born to a Nigerian father and raised by white adoptive parents), who recently wrote a piece in the Guardian about Scottish complicity in the Slave Trade, was happy to win the award in the year of the bicentenary. She received it "on behalf of all the women that came before me."

Funny thing, the Galaxy British Book awards, the last hour of which I caught by chance last Friday. It's like no other book awards ceremony I've ever watched - more like a book award modelled after the movie gongs - Baftas, Golden Globes, Oscars and what have you. It was mightilly glitzy and the guests were clearly invited to appeal to the MTV, Pop Idol and WAG generation. Therefore, Mica Paris, Jamelia, Ian Hislop and Kyle Maclachlan mingled with the likes of William Boyd. I mean, comedian Ricky Gervais won an award for heaven's sakes! And he got to talk to the ceremony, giving his winner's acceptance chit-chat live from the stage somewhere where he was doing a comedy gig.
Still, this unusual composition allowed for probably the most touching moment of the night, for me. Author John Grisham won a Lifetime Achievement Award (very 'movie' kind of award, if you ask me). I've never read a Grisham but I've watched many a gripping film thriller adapted from his work. It was nice to see him on screen in the flesh. Receiving his award, he said, "When you write populist fiction you don't win many awards. In fact, this is the first one - ever." Something that made the crowd sound an almost apologetic "aww..." Yeah, I sort of felt sorry too. All those millions and millions of books and not one award! Oh well, I guess all the millions in the bank may give some compensation. Grisham thanked his wife (watching from the audience) who red-pens everything he writes.
Say what you like about the book-calibre of many of the guests, one could not fault the presence of Sophie Dahl (top, to Kay's right), grand-daughter of late writer Roald Dahl who based some of his books on her. Once a size 14 'plus-sized' model turned waif-like mannequin with huge doe eyes for fashion labels like Monsoon, Sophie has recently branched out as a writer in her own right. Until recently, she wrote lovely short-short stories for the the Guardian's Weekend Magazine. I liked reading them, and I was sorry when they ended.

Write for BHF Magazine

Calling All Nigerians!!!

My name is Sade Adelekan and I am managing editor of a vibrant, new Nigerian magazine.

BHF Magazine is an exciting new contemporary Nigerian Lifestyle Publication launching in Summer 2007. It is the brainchild of entrepreneurial couple Geoffrey and Jennifer Olisa.

The vision of BHF Magazine is simple. We are looking to dispel the narrow view of Nigerians that exists today by educating the masses through the lens of the lives of modern Nigerians by introducing the world to our music, fashion, art, culture and way of life.

This is where you come in! It's time to Write, Write, Write...We are looking for articles from all of you. We want you to write on the following topics:
  • Fashion
  • Art
  • Design
  • Music
  • Pop Culture
  • Technology
  • Business/Entrepreneurship
  • Topical Issues (Whatever is on your mind today, relevant to the Nigerian experience, that you have something to say about.)

We Need Articles Now!!

They do not have to be long. One page. Longer, if you feel inspired and have more to say.
This is a unique opportunity to have your voice heard and be part of something Ground Breaking!!!

All articles and related images should be sent to: editor@bhfmagazine.com

So Pick Up Those Pens And Get Writing!!!... We are the Now Generation and it's about time we let the world see what we are truly all about!!!

Whether you are a college student, budding entrepreneur, musician, artist, model, photographer, journalist, poet, writer, lawyer, nurse, architect, graphic designer, you name it; we want to hear from you!!! We already have pre-order subscriptions in anticipation of what is going to be a spectacular summer launch. The buzz is on!

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So spread the word! We look forward to reading your articles!!!