The Sahara Desert, the Mediterranean Sea, or even the Red Sea, are not necessarily boundaries, they have rather been highways for the exchange of people and ideas through history.


In The Pharoah’s New ClothesSophia Azeb rejects Léopold Sédar Senghor – the Poet-President’s – dichotomy of Negritude/Arabicite through an examination of Cairo-based magazine Lotus: Afro-Asian Writings as a tool and symbol of cultural ideology dissemination.
Wendell Hassan Marsh follows the route taken by Islam between Françafrique and Afrabia, a geo-political conflation, so named by Ali Mazrui, which imagines the whole of Africa and the whole of the Arab world as two regions in the process of merging into one.
Hassan Musa introduces artist and teacher Ibrahim El-Salahi – The Wise Enemy and his aesthetic principles based on hybridity of Arab-Islamic cultural components and elements of African culture that preceded the advent of Islam in Sudan.

In Timbuktu: an Old African SayingAkin Adesokan investigates how the Pan African Film and Television Festival of Ouagadougou (FESPACO) and the Carthage Film Festival (JCC) became exclusive platforms for North and sub Saharan cinemas.
Ziad Bentahar wonders why the identities of “Arab” and “African” seem, from our contemporary literary vantage point, so distinct while in practice, The Sahara is Not a Boundary. He talks to Marcia Lynx Qualey about different ways of imagining connections between African literatures.
Coming to South Africa, Saarah Jappie undertakes the work of Writing the City in a Different Script: tracing the Arabic roots of Afrikaans in Cape Town – a city where the contribution of Arabic in shaping political and cultural histories has almost been completely erased.



The latest issue of the Chronic, explores ideas around mythscience, science fiction and graphic storytelling. Like previous editions of the Chronic, this edition is borne out of an urgent need to write our world differently – beyond the dogma of growth and development and the endless stream of future projections released by organisations like the IMF and the World Bank.

In opposition to the idea of the future as progress – a linear march through time – we propose a sense of time is innately human: “it’s time” when everyone gets there. We invited artists to produce graphic adaptations of stories that speak of everyday complexities in the world in which we live, in which we imagine we will live and in which we want to live.

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More, More, More… Future

Infusing the hybrid rhythms of Ndombolo music with hefty doses of punk rage and cosmic energy, Kisangani (DRC) based dance collective Studio Kabako deliver a pre-Sputnik space travelogue into the unknown.


Boima’s PMS Minimix

Forget Diplo and Dilla. Chief Boima bounces the border patrols to bring you as panglobal sex-money-power pileup that engages the complex economic , physical and intellectual flows between Africa, the Caribbean, and the Americas.


Visions of Kamerun

Visions of Kamerun sees Franck Biyong and his Massak crew navigate the psycho-geography, history and dreams of Cameroon, as well as the roots, passages and slipstreams that link it to Europe.