by TINASHE MUSHAKAVANHU
ZANZIBAR has long been an island of arrivals for traders, sailors, slaves and, more recently, waves of tourists. I arrived as a wedding guest and a reader of the Zanzibar-born novelist Abdulrazak Gurnah, in search of the literary and emotional landscapes that shape his fiction. For a week, I was part of the tourist economy of this East African island, passively complicit in its curated pleasures.
For all its beautiful images on social media, Zanzibar is a site of difficult memory. It was once a central node in the Indian Ocean slave trade, so its past is carved into the coral-stone buildings that reflect a complex fusion of Swahili, Indian, Arab and European influences in architecture and town planning.
A visit to the Old Slave Market was sobering. You cannot look away once you’ve seen it. And yet, Zanzibar is now overlaid with carefully packaged experiences: boutique hotels with infinity pools, beach picnics with imported champagne, stalls of “African” art mass-produced for western eyes. The art has become so generic that it hurts. All the curio markets on the island look the same.
Even the language has been commodified. Everyone is selling something. Everyone is searching. “Jambo,” (Hello) say mostly young men offering one service or another. “Hakuna matata.” (No worries.) “Pole pole.” (No rush.) These cheerful Kiswahili phrases made famous by the likes of the Lion King movie are repeated like slogans and feel soulless.
Most of the cars on the roads operate as taxis with stickers that say: Private Hire. The tuk tuks, three-wheeled tricycles, weave in and out of traffic because movement is an act of constant negotiation, part of a tourist infrastructure that operates as a regulated service.
Amid the hum of engines and the ceaseless choreography of traffic, I kept searching not just for respite from the heat or wifi or good coffee, but for something literary. I was looking for the celebrated writer Abdulrazak Gurnah. Not the man (he hasn’t lived in Zanzibar for decades), but the essence of his writing, informed by this place: the ache of exile, the weight of history, the restless question of belonging he grapples with.
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