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A Name That Is Mine
(2019)
In this poetry collection, Mbuh Mbuh Tennu offers a virulent indictment of the multifarious faces of pain which have lent a dystopian colouring to our world. These poems are all at once, songs of lament, regret, defiance and protest. The idea of naming which is a central motif underscores the dangers of being foreign named; which implies being claimed and owned and more importantly the imperative of self-naming to claim a name and to own that name; to self-define and to defy attempts to contravene this. This is a collection for our time; our timelessness. It is an urgent, reflective and incisive call to stay awake and be actors of our history.
In the Shadow of my Country
(2009)
Growing up almost simultaneously with the independent Cameroon nation, it takes Tipoung'he a long time together with challenging experiences to realise that he has all along been living in the shadow of his country. His epic story is representative of the many whose untold stories are caught in the schematic confusion of independence, in which self-knowledge must rally back finally from the lethargic ideals of the Nation and the Patriot in a redeeming instance of identity. The story mirrors the growth of the hero as he gets used to his ever shifting environment. The complexity of experience, the burden of knowledge, and how to express these, confront Tipoung'he with prescriptive arrogance, and the more he gets entangled in the authoritative and patriotic mesh, the more he becomes aware of the need to withdraw from their osmotic consciousness. The moment of withdrawal, which coincides with self-knowledge, is a personal and symbolic rebirth.
The Death of Asobo-Ntsi
(2011)
This novel re-visions history through narrative fiction: the history of his people that has long been silenced and distorted as a colonial strategy, the history of an African community at the crossroads. Asobo-Ntsi, the stubborn yet proud Fon of Nyen, is faced with some challenges amongst which are: his seven- and nine-man council that is not happy with his dictatorship and tax laws, a disgruntled quarter that attempts to secede, and also, the encroaching colonialist, Nwuoupang, with his church and administration. How Asobo-Ntsi handles these challenges is expressed powerfully and movingly with great narrative artistry that absorbs the reader and keeps him/her enthralled to the end.
Searching for Bate Besong
(2014)
The future of the country in Searching for Bate Besong is compromised by irresponsible leadership, falsehoods, blind tyranny, waste, and lawlessness. Visionaries like Dockinta (a literary incarnation of Bate Besong, one of Cameroon's most fiery and revolutionary authors) who try to question or expose the status-quo are incarcerated and tortured by the brute forces of dictatorship. It however only needs the strong will and audacity, the messianic self-sacrifice and determination (which are the values Dockinta incarnates), to expose, ridicule and destroy power drunkenness. This play is sine qua non to searching for the collective memory of a community marginalized and subjugated by successive regimes of exploitation and repression. It promises the rediscovery of the dignity and destiny of an active volcano wrongfully rendered docile. The Search will liberate a people who agonized from the whips by the Germans, the hypocrisy of the British, the outright exploitation of the French and the eternal domination of La Republique du Cameroun. The search will culminate in liberating not only Cameroonians, but Africa from corruption, nepotism, tribalism, organized crime, wars and the abuse of basic human rights and freedoms.
'In Who's Afraid of Mongo Wa Swolenka? a book launch is planned which, from information given to His Royal Excellency Gbadarango Binyambutu Buthablaisi, by a traitorous intellectual seeking preferment; and by his security agents, is a campaign led by disgruntled writers and intellectuals of Nubialand for the return of their exiled colleague and international award winner, Professor Mongo Wa Swolenka. How the celebrated leader of Nubialand and master of gunocratic politics responds to the prevailing circumstances is the nerve centre of dialogue, action and morality in the play.' - John Nkemngong Nkengasong, Writer and critic, University of Yaounde I, Cameroon
This collection dissects post-independence Cameroon as a representative postcolonial junction. The history that assists in the writing of the poems is a necessary background to understand the dislocated vision of an erstwhile independent territory. After a patriotic pastime of sweeping every bit of rubbish under the carpet of national unity for over fifty years, the collection summons us to introspect on the consequences of feeding and living on a national lie. It is only after such reflection that, hopefully, remedial gestures can offer 'new dreams on the dawn of new sleep'.
The Oracle of Tears
(2010)
Mbuh Tennu Mbuh is a lecturer in the English Department, University of Yaound I. A pioneer member of the Anglophone Cameroon Writers Association (ACWA) and a Fulbright and Commonwealth Scholar, Tennu holds a PhD from the University of Nottingham. He is author of a novel, In the Shadow of My Country.
