Abdourahman Waberi and the third generation of African literature

A unique journey into literature 

Abdulrahman Ali Waberi was born in Djibouti’s capital in 1965, twelve years before his country gained independence from France in 1977. In 1985, at the age of 20, he moved to France, where he later became a citizen. There, he pursued English language and literature studies, earning a postgraduate diploma in English literature. He then went on to complete his PhD, focusing his dissertation on the works of Somali novelist Nuruddin Farah. 

His academic background prepared him to become a professor of French and Francophone literature at George Washington University in the United States. Since earning his doctorate, Waberi has dedicated his research to the historical criticism of sub-Saharan African literature. 

He has often mentioned in interviews that Arabic culture is a fundamental component of his literary heritage. This unique blend of influences—Francophone (from the colonial background), Anglophone (from his higher education), and Arabophone (from his deep-rooted Arab cultural identity)—makes his perspective truly distinctive. 

Being a true literary polymath, Waberi writes poetry, novels, and short stories, in addition to contributing essays and literary criticism and engaging in academic work. His critical and academic pursuits are evident from his career. His poetic talent shines through in his collection Naming the Dawn. As a novelist, he is known for works like Harvest of Skulls, and his prowess as a short story writer is confirmed by his early collection The Land Without Shadows. These works, among many others, cemented his reputation as a creative poet, novelist, and short story writer. 

It is no surprise, then, that his work has gained widespread recognition among readers worldwide, especially since it has been translated into numerous languages, including English, German, Italian, Portuguese, Serbian, and Spanish. His contributions have earned him prestigious accolades such as the French Royal Academy of Sciences, Literature and Arts Award, and the Grand Prix of Black African Literature. 

Abdulrahman Waberi's prominence in African literature, both creatively and academically, has led him to participate in various international forums. He notably chaired the jury for the second edition of the "Voice of France" literary prize, organised by Radio France Internationale in collaboration with Lattès publishing house and the Cité Internationale des Arts. This competition, aimed at young African writers, received over 350 submissions. 

He also participated in the third Marrakech African Book Festival in February 2025, which brought together over 40 African writers, intellectuals, and thinkers from more than 20 countries, showcasing the extraordinary breadth of contemporary African literature. 

Waberi’s creative path: a new voice and perspective 

Waberi excels in writing short stories, novels, and poetry. Besides the aforementioned titles, his extensive body of work also includes The Divine Song, Transit, The Passage of Tears, and The Nomads. Let us briefly highlight some of these creative works across the three literary forms, providing a quick overview of their themes, critical reception, and their impact on African literature. 

The Djiboutian author made his literary debut in the short story genre with the collection The Land Without Shadows, published in 1994 when he was around 29 years old. This collection was widely praised and enthusiastically received, largely due to its original style and the significant themes the author explored. It earned him the French Royal Academy of Sciences, Literature and Fine Arts Award. For many novelists, short story writing serves as a stepping-stone to the more complex world of the novel. For Waberi, this collection was clearly vital. 

He has authored several novels, including Transit, Harvest of Skulls, and The Nomads. The last, published in 1996, stands as one of his most important early works, marking a significant phase in his career and bringing him widespread recognition in what is now known as “world literature” written in French. Critics consider The Nomads one of his most exquisite and precise works. In it, he continues to explore a space that is both imaginary and geographical, showcasing a mastery of his narrative technique, which blends poetic language, imagination, and a wealth of sensory symbols. Some critics describe the novel’s content as a mix of poetry, storytelling, personal memories, and social and political critique—the last of which notably led to Waberi’s ten-year exile in France. 

His novel Harvest of Skulls (2000) chronicles the brutal events that plagued several African nations. It specifically focuses on the Rwandan genocide of 1994, during which Hutu militias systematically massacred an estimated 500,000 to one million Tutsis, believed to have been orchestrated by a Rwandan elite party called Akazu. One critic notes that this novel is characterised by its poetic language, which merges with reality. It draws heavily on the experiences and testimonies of genocide survivors, which Waberi meticulously collected during a visit to Rwanda. He interviewed many individuals who witnessed the tragic events firsthand, and they shared their complex experiences and conflicting emotions from both warring communities. 

The poetry collection The Naming of the Dawn (1998) stands out among his poetic works. In it, readers discover excerpts from prophetic stories, lessons from the Qur'an, and classic literary allusions, such as star-crossed lovers in the style of the Arabic classical tragedy Layla and Majnun. 

Waberi also pays homage to past poets, creating a collection that resonates with powerful historical and cultural echoes between his homeland, Djibouti, and the Middle East. Through this collection, Waberi also sends a powerful message: “The law is not the path that leads to the source.” This message serves as a call to those who misinterpret religious texts and offer rigid, extremist interpretations. 

One notable poem from Abdulrahman Waberi’s available poetic works is “Acacia”, translated into English by Nancy Naomi Carlson. The poem reads: 

Prince of the landscape, on your dome a goat moves 
slender 

a thick cloud of ants caresses your roots 

while the goat nibbles your loveliest leaves, 

the ants shelter themselves from the sun 

“Acacia” is composed of simple, mostly common words, presented in an uncomplicated style. It paints a picture of an acacia tree whose leaves are eaten by goats and whose roots are disturbed by a large group of ants. Is this the only meaning the author intends to convey? I believe this poem is rich in symbolism, with carefully chosen words, style, and title. This symbolism undoubtedly conveys the deeper meanings the poet aims for. 

The poet’s choice of the acacia tree is particularly significant; it carries a different meaning than, say, an arak tree. The acacia tree, used as the title and gateway to this poem, draws its symbolism from African culture, where it represents life, resilience, and blessing, in addition to its religious and utilitarian significance in the lives of Africans. 

While the symbolism the poet imbues in this poem may be open to varying interpretations—as the nature of symbolism allows for different readings depending on the reader’s mood and state of mind at the moment of reading—I believe the message the poet intends to convey forms an image centred on the acacia tree. The acacia tree, symbolising life, resilience, and blessing, represents the rich diversity of natural and human resources, both in quantity and variety, aligning with the nature of the African continent or Djibouti. 

In one part of this image, Africa/Djibouti appears besieged by an external enemy (the goats). And no matter how strong this enemy seems, they are like “scrawny” goats. This enemy focuses on superficial, external aspects (the dome and leaves). In another part of the image, Africa/Djibouti appears besieged by an internal enemy (the ants) that gnaw from within (the roots), the most impactful and damaging part of the tree (Africa/Djibouti). Here, the poet warns us about the greater danger of an internal enemy compared to an external one. 

The enduring impact of Abdulrahman Waberi’s work 

After this quick tour of some of Waberi’s creative works, it is important to summarise the distinctive features of his creations and the fresh perspectives they introduce. A discerning reader of Waberi’s creative writings will notice that the most prominent features of his work lie in his emphasis on elements of myth, humour, and lyrical poetry. 

Waberi’s texts are imbued with a deep nostalgia, conveyed through highly accessible language. Additionally, his texts introduce a new voice and a new persona to the course of African literature. At the same time, they often contrast with political and epic narratives. What’s new in Waberi’s poetry is the centrality of place, which allows him to conjure his intimate self, acting as a filter through which the author enables us to see the truth. 

From the preceding discussion, we can see that the multifaceted Abdulrahman Waberi, who seamlessly blends Arabophone, Francophone, and Anglophone cultures, stands as an icon for the third generation of African writers. He may not be the only icon of that generation, but he was a key witness to the period following his country’s independence from France, and indeed, to many African nations gaining freedom from European colonialism. 

He and his generation tackled a wide range of themes in their creative writing and embraced new styles that are clearly evident in works like The Nomads, Harvest of Skulls, and Naming the Dawn, among others. Crucially, Waberi’s generation did not favour tradition over modernity, nor modernity over tradition; instead, they creatively blended both, marking their writings with the distinctiveness of their era. Furthermore, Waberi did not confine himself to the specificities of the African continent but openly embraced global issues, thus paving the way for future generations of African writers.