The First Woman
The First Woman بقلم جينيفر نانسوبوغا ماكومبي ... In her twelfth year, Kirabo, a young Ugandan girl, confronts a piercing question that has haunted her childhood: who is my mother? Kirabo has been raised by women in the small village of Nattetta—her grandmother, her best friend, and her many aunts, but the absence of her mother follows her like a shadow. Complicating these feelings of abandonment, as Kirabo comes of age she feels the emergence of a mysterious second self, a headstrong and confusing force inside her at odds with her sweet and obedient nature. Seeking answers, Kirabo begins spending afternoons with Nsuuta, a local witch, trading stories and learning not only about this force inside her, but about the woman who birthed her, who she learns is alive but not ready to meet. Nsuuta also explains that Kirabo has a streak of the “first woman”—an independent, original state that has been all but lost to women. Kirabo’s journey to reconcile her rebellious origins, alongside her desire to reconnect with her mother and to honor her family’s expectations, is rich in the folklore of Uganda and an arresting exploration of what it means to be a modern girl in a world that seems determined to silence women. Makumbi’s unforgettable novel is a sweeping testament to the true and lasting connections between history, tradition, family, friends, and the promise of a different future.
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جينيفر نانسوبوغا ماكومبي
Jennifer Nansubuga Makumbi, a Ugandan novelist and short story writer, has a PhD from Lancaster University. She is a lecturer in Creative Writing at Lancaster University and lives in Manchester with her husband Damian and son Jordan.
Her first novel, Kintu, won the Kwani Manuscript Prize in 2013 and was longlisted for the 2014 Etisalat Prize for Literature. Her story Let's Tell This Story Properly won the 2014 Commonwealth Short Story Prize. In 2018 she was awarded a Windham-Campbell Prize in the fiction category. In 2021, her novel The First Woman won the Jhalak Prize.
Makumbi's writing is largely based on oral traditions. She realised that oral traditions were so broad and would be able to frame all her writing regardless of subject, form or genre. She has said she "noticed that using oral forms which were normally perceived as trite and 'tired' brought, ironically, a certain depth to a piece that I could not explain."