The limits of my language mean the limits of my world

The Blind Spots of Women in Translation Month

If you want to colonise a people, you must first colonise their stories.— Ngũgĩ wa Thiong’o

Hey all🌻

Happy woman’s month and if you’re an avid reader like me, Happy Woman in Translation month.

When I think about African literature, the first names that come to mind are Chinua Achebe and Ngũgĩ wa Thiong’o. Achebe’s Things Fall Apart blew open the doors for African storytelling on the world stage, and Ngũgĩ took a bold stand by insisting on writing in Kikuyu, not English( personally siding with him). These two giants remind us how powerful stories can be when they break through language barriers and how important it is to preserve those native tongues.

But here’s the frustrating truth: even though South Africa alone boasts 11 official languages—yes, eleven—Africa remains one of the least translated continents in the literary world. It’s not just a sad fact; it’s a damning indictment of the global publishing industry’s priorities.

And don’t even get me started on what we were fed in school. If you grew up here like me, you probably read more American and British literature than African voices. How does that even make sense? We live on a continent bursting with languages, oral traditions, and stories that could shatter your perspective and yet, our curricula barely scratch the surface.

So why does this happen? Why do we keep hearing about East Asian and American women writers when there’s a whole universe of African, Middle Eastern, South Asian, and Indigenous women whose voices are drowned out?

The Publishing Machine’s Narrow Lens

Look, it’s not just coincidence. Countries like Japan and South Korea have seriously invested in literary translation. They have government grants, networks, and translators ready to roll. Latin America’s literary tradition is backed by decades of international attention and a well-oiled translation industry.

Publishers? They’re chasing trends. They want psychological thrillers, magical realism, minimalist narratives genres East Asian and Latin American women writers have perfected in the global imagination. This means those books get pushed, published, reviewed, and sold, while so many incredible African or South Asian women’s works sit on the sidelines collecting dust.

And here’s the kicker: there just aren’t enough translators working with African and many other languages. So even if a brilliant novel exists, it probably won’t see the light of day in English anytime soon.

What That Means for the Rest of Us

This isn’t just an issue for readers; it’s a cultural erasure. So many powerful stories from Africa, the Middle East, South Asia, and Indigenous communities are invisible on the global stage. It’s not because these stories aren’t worthy they absolutely are but because the industry isn’t set up to value or promote them.

But there’s hope. Small presses, fierce independent translators, and cultural activists are fighting to change this. Women writers from these regions are slowly getting the recognition they deserve, and thankfully some readers are waking up to the imbalance.

How I Think We Can Shake Things Up

Honestly, change starts with us, the readers and cultural consumers. Here’s what I do, and what I think you should try too:

• Go out of your way to find books by women from underrepresented regions. Don’t just pick up the “popular” East Asian or Latin American titles dig into Senegalese, Lebanese, Nepali, or Cape Verdean voices.

• Support indie presses and translators who actually care about diversity over profits.

• Demand your local libraries and bookstores carry these books. Believe me, if enough people ask, the shelves will change.

• Use your social media presence to spotlight these authors. Share reviews, recommend books, start conversations. The publishing industry notices when buzz grows.

Time to Expand Our Literary Maps

Women in Translation Month is more than a hashtag or a moment. It’s a call to arms to rethink what and who we read. When we deliberately choose African languages, Middle Eastern stories, South Asian perspectives, and Indigenous narratives, we’re not just adding variety we’re reclaiming voices that have been silenced for far too long.

So, next time you pick up a translated book, don’t just ask “Is this good?” Ask yourself: “Whose story am I hearing? Who’s missing from my reading list?”

Because real growth, real empathy, and real understanding come from stepping beyond the familiar. And if we don’t do this now, who will?

Until the lions have their own historians, the history of the hunt will always glorify the hunter.— Chinua Achebe

Here is my Underrepresented Women in Translation, Must-Reads:

Africa

• So Long a Letter by Mariama Bâ (Senegal, French )
  A classic epistolary novel exploring friendship, feminism, and postcolonial society.

• The Queue by Basma Abdel Aziz (Egypt, Arabic)
  A chilling dystopian allegory about oppression and bureaucracy.

• The Madwoman of Serrano by Dina Salústio (Cape Verde, Portuguese)
  Magical realism rooted in Cape Verdean culture and folklore.

• Skinless by Natasha Omokhodion-Kalulu Banda (Nigeria, Yoruba)
  Bold stories blending myth, identity, and womanhood.

Middle East

• The Bamboo Stalk by Saud Alsanousi (Kuwait, Arabic → )
  While by a male author, it deeply explores identity and marginalization with strong female perspectives; a rare Middle Eastern work widely translated.

• Women of Sand and Myrrh by Hanan al-Shaykh (Lebanon, Arabic)
  A groundbreaking novel about women’s lives in the Arab world.

South Asia

• Blue Hour by Sarita Mandanna (India, Kannada)
  A lyrical story about love and loss set in southern India.

• Tomb of Sand (excerpt) by Geetanjali Shree (India, Hindi)
  Playful and profound, this novel pushes boundaries and has won international acclaim.

• I Am Malala (selected chapters) by Malala Yousafzai (Pakistan, Urdu → English, memoir excerpts)
  Inspiring story of courage and education rights.

Indigenous Voices

• Mauri Ola: Contemporary Polynesian Poems (New Zealand and Pacific Islands, various languages → English, anthology)
  A beautiful collection of poems by women from Māori, Tongan, Samoan communities.

• The Whale Rider by Witi Ihimaera (New Zealand, Māori cultural roots in English)
  Though written in English, it carries deep oral storytelling tradition.

South African Cultural Translation

• Mother to Mother by Sindiwe Magona (English with isiXhosa influence)
  Written in English but deeply rooted in African oral storytelling and idioms.

Short Stories & Fiction( not necessarily translated)

• “Jambula Tree” by Monica Arac de Nyeko (Uganda)

• Tropical Fish by Doreen Baingana (Uganda)

• Rotten Row by Petina Gappah (Zimbabwe)

• Go Tell the Sun by Wame Molefhe (Botswana)

• Speak Gigantular by Irenosen Okojie (Nigeria/UK)

• What Is Not Yours Is Not Yours by Helen Oyeyemi

• Thirteen Months of Sunrise by Rania Mamoun (Sudan)

• Sin is a Puppy That Follows You Home by Balaraba Ramat Yakubu (Nigeria)

• The Strange Bride by Grace Ogot (Kenya)

• Coloured Lights & Elsewhere, Home by Leila Aboulela (Sudan)

• “Bridling” by Nadia Davids (South Africa)

Poetry

• A Nation in Labour by Ber (Harriet) Anena (Uganda) – Powerful collection of poems that explore love, conflict, and identity. Awarded the Wole Soyinka Prize

• A Gathering of Spirit (Anthology) – The first collection of writing and art by Indigenous North American women, edited by Beth Brant.

Essays & Nonfiction

• I Write the Yawning Void by Sindiwe Magona (South Africa) – A collection of essays deeply rooted in personal history, social justice, and cultural reflection.

• Always Another Country by Sisonke Msimang (South Africa) – Memoir about exile, return, identity, and the nuanced politics of post-apartheid life.

• Namesake by N.S. Nuseibeh (British-Palestinian) – A poignant essay collection on feminist identity, faith, and cultural heritage through personal and historical lenses.