Kabelo ‘Jazzmeneer’ Mofokeng is a practising poet and a trained photographer with a deep love for music. He is a graduate of the MA in Creative Writing Course (2014) offered at Rhodes University. He has published poetry, prose and photo-essays in a number of ‘Pan African’ literary journals, as well as written and produced the play, Taxi Poetry (2003), including self-published a volume of my poetry and photographs, Black Pen Vol. 1 (2007), with drawings by Wesley Pepper. Included photography exhibitions are Red Ants: Corner Bree and Harrison (2009), and the Soweto Photo Album Exhibition titled Fifiela ‘To See with Difficulty’ (2010), of a more notable film about music, Shwabada: The Music of Ndikho Xaba (2016). As a cultural worker and scholar, he has co-curated spoken word and multimedia performances, as well as interactive photography exhibitions within township areas in Johannesburg, a major Afropolitan city. Moreover, he has a good first-hand knowledge of literary trends and practices, particularly with regard to the dynamic literary traditions of South African townships, which are often marginalised and under-represented in the South African canon. In his own words, Mofokeng declares, “I am excited to participate in Botsotso’s expansion of urban, black, multilingual literature, in both its oral and written forms.”

Hungry on Arrival

by Kabelo Mofokeng


PUBLISHER:  Botsotso
ISBN:              978-1-990922-58-9
GENRE:          Poetry
FORMAT:        Paperback
SIZE:               148mm x 210mm
EXTENT:         100pp
PRICE:            R135
RELEASE:       2023



My collection embraces different kinds of poetry. Some poems come via my home in Pimville Soweto, the urban sounds and multilingual speech patterns as I move through it. Other poems draw on Sesotho culture and tradition, which still run strongly in my family, and at times, I integrate the different kinds of sounds and associations of Sesotho and English in the same poem.

Another important aspect is my retracing of the rural and forgotten footsteps of Mzanzi’s legendary artists, in the same way that Zim Ngqwana’s Abomagoduka narrates the journey of men leaving their homesteads to seek work in the mines and cities. I believe poetry, like jazz, allows one to knock on the void of silence. In this way I celebrate the lives of artists and poets such as Mafika Gwala, Jackson Hlungwani, Kippie ‘Morolong’ Moeketsi and Fana Zulu. Other poems are dense and self-reflective in the manner of Arthur Nortjie or Angifi Dladla.

Kabelo Mofokeng


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African Books Collective: Hungry on Arrival




Anton Krueger was the first English poetry editor for Litnet and from 1997- 2001, was part of the “Bekgeveg” team performing monthly at venues all over Pretoria and Johannesburg, as well as at the Klein Karoo Kunstefees and Aardklop festivals. Poems from this era were published in the anthology Six of the Best (1998, Poets Press). He was invited to perform at Poetry Africa in 2008 and in 2023. His first anthology, Everyday Anomalies appeared in 2011 (Aerial) and in the same year his poem “Nine Notes on Lisbon” was a runner up for the Dalro poetry prize. Over the last few years, Anton has been experimenting with improvised spoken word collaborations with a variety of musicians and DJs, including Tony Bentel and Francois le Roux (the HA! man). Anton has also published plays, memoir, short stories, criticism and arts journalism. He lives in Makhanda where he heads the Department of Literary Studies in English at Rhodes University. Still, Anton considers himself an amateurist, inspired by love rather than profit, gift instead of commodity. Selections from Everybody is a Bridge have been performed in collaboration with improvisations on piano by Paul Hanmer.

To sample his work, visit: https://amateurist.weebly.com/writings.html 

Everybody is a Bridge
poems, prose-poems, notes & fragments

by Anton Krueger



ISBN: 978-1-990922-67-1

GENRE: Poetry

FORMAT: Paperback

SIZE: 148mm x 210mm

EXTENT: 78pp




The same poet who observes that “everybody is a bridge/’’ then asks in Zen-fashion, “Is it me, or is it you?/ are you reflection or projection / or the light that’s shining through?’’ can also note in a very down-to-earth way, that “If we hadn’t robbed the car washers of their coin/they might not have turned so mean, you know? / Let them earn a little income, bra/ If we’d chiselled our hearts open, tried to see it from the middle/we’d have softened just a little.” 
And so, while keeping the big picture of the difficulties before us unflinchingly, Anton imbues such philosophical and political statements with images of very real people and their struggle for survival. But this is one aspect of his writing. As importantly, through these ‘poems, prose-poems, notes & fragments’, runs a whimsical sense of his youth and later years as a white South African whose numerous relatives and friends make their appearance in the form of anecdotal history turned into poetic narrative. In this way, the collection is varied, and very personal and true to Anton’s past and present, a very satisfying buffet that offers a unique taste of his Buddhistic soul. 



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