Molara Wood, a Nigerian writer and journalist, has sounded an alarm to book enthusiasts about a Google Drive link featuring more than 200 novels from the Heinemann African Writers Series.
The African Writers Series (AWS) is recognized for its collection of literary works by notable African authors, poets, and politicians.
This series published 359 titles between 1962 and 2003 under Heinemann, and the circulating link reportedly includes acclaimed titles such as Ayi Kwei Armah’s ‘The Beautyful Ones Are Not Yet Born’, Buchi Emecheta’s ‘The Family’, and Chinua Achebe’s ‘Heinemann Book of Contemporary African Short Stories’.
Furthermore, the link has also drawn in other significant works including Cyprian Ekwensi’s ‘Restless City and Christmas Gold, with Other Stories’, Eddie Iroh’s ‘Forty-Eight Guns for the General’, Flora Nwapa’s ‘Idu’, and Gabriel Okara’s ‘The Voice’, among others.
Referencing the situation, Wood condemned the act as "piracy on a grand scale" and a blatant infringement of intellectual property perpetrated by self- proclaimed advocates of African creativity. She expressed her astonishment that someone would openly share these materials while others expressed eagerness to obtain the link.
In a subsequent post, the ‘Indigo’ author reflected on the disturbing irony that individuals are undermining the efforts and visions of numerous writers under the pretext of affection.
She drew a stark comparison, stating that it would be akin to tearing down someone’s house or setting their car alight.
“If you appreciate art, compensate the creators and treat their work with honor. This is a moral, ethical, and legal issue. If you were one of the many who raised your hand to express interest in that link, you should feel ashamed. Really ashamed,” she asserted.
Wood further lamented the fleeting nostalgia for the AWS books of their childhood, questioning where those books had gone, attributing their loss to a lack of preservation and respect by the public. She emphasized that caring for these works is essential, especially in schools and libraries that aim to provide access to literature.
She pointed out that while many writers struggle to gain financial remuneration for their efforts, it is crucial to remember that deceased authors have estates and dependents relying on the proceeds.
In response to her critique, an X user known as Foxygen challenged her stance by questioning why essential African classics remain scarce despite their significance, often sold at exorbitant prices abroad or rendered inaccessible.
Foxygen suggested that criminalizing readers who seek digital access due to economic constraints reflects a privileged perspective. They argued that many might go through life without ever engaging with vital African literature simply due to accessibility issues, which can adversely affect collective reading habits.
They further argued that such classics should not be subjected to draconian piracy standards, highlighting personal experiences of losing culturally important works that are no longer in circulation.
Supporting Foxygen's argument, numerous users on platforms echoed the demand for greater accessibility to African literary works. Observing similar patterns as seen in the Nigerian film industry, they highlighted the mistakes of addressing piracy without resolving distribution issues.
Ultimately, they remarked on the ongoing struggle of authors from disadvantaged backgrounds, stating that they might not adopt an inflexible position on piracy due to their own experiences.
Wood’s assertions shed light on a significant debate regarding the accessibility and distribution of African literature in a digital era while calling for a collective effort to respect and uphold the creative rights of authors.
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