I'm author Joseph R. Alila, a native of Kenya living in Schenectady, New York, from where I have penned twelve novels and two epic poems. You may not have read my poetry and verse that address a variety of areas of the human experience, but you are welcome if you love writings that go beyond the mundane of daily life. I'm a chemist and teacher by training, and I for a while considered my writing as something recreational, something I did to pass time. Fourteen publications later, learning the art of writing on my feet, the literary burg has bitten me, and friends and fans say that I'm a good novelist with particular strengths in the narrative and analytical forms and with a penchant for stinging dialogue. I laugh at such suggestions, but they may be right; it may be true that writing is like wine: the author's output gets better with his or her age, where the wine in a bottle gets better with time in the cellar. I started writing from what I knew well, and that was telling stories about life in a traditional Luo home--in which I grew up before I flew to multiethnic, then multinational diaspora destinations. I've written extensively on my Luo people's polygamous marriages and other cultural practices, criticizing them where criticism is due, and shedding a sage's light in an effort to put meaning to old traditions. My mournful caution against the practice of polygamy in the era of the AIDS virus came to light in SUNSET ON POLYGAMY. My writings have tended to be anthropological--treating my subjects as actors or victims of their environments and times. My novels, WHISPER TO MY ACHING HEART, SUNSET ON POLYGAMY, THE LUO DREAMERS' ODYSSEY: FROM THE SUDAN TO AMERICAN POWER, NOT ON MY SKIN, MAYA, BIRTHRIGHT (A LUO TRAGEDY), THE WISE ONE OF RAMOGILAND, and lately MAYA are informative anthropological treatises on peoples and their physical, spiritual, political, cultural, and social circumstances. I must admit that when I set out to write my earlier novels, for example SUNSET ON POLYGAMY, I had no voice or agenda. My objective was to tell stories about my Luo people and my experiences as a Christian, a Luo, an African, and a world scholar uprooted from his home base to chase scientific dreams abroad. But fourteen novels and two Epic Poems (RATENG' AND BRIDE and THIRTEEN CURSES ON MOTHER AFRICA) later, I find himself increasingly speaking for the burdened and voiceless peoples wherever they are in the world: I speak for the African women and widows (in THE THIRTEENTH WIDOW, SUNSET ON POLYGAMY, and WHISPER TO MY ACHING HEART) whose perilous yokes are the marital culture and practices whose original intentions were protective, but which cultural practices now have turned spiritual death traps, from which there is no escape. I've found a mournful political voice in two of my works:In RATENG' AND BRIDE, I visit with and relive, in poetry, Kenya's tragic 2007 Presidential contest, pointing at errors from which the nation hasn't recovered). In the epic poem, THIRTEEN CURSES ON MOTHER AFRICA, my message is that increasingly dependent Africa is an old shadow of its pre-colonial self; Africa is inundated with perilous crises, a lot of which are due to amnesia, nature, poor leadership choices, greed, dictatorships, and brother-on-brother conflicts, with Ebony the African Woman and her children bearing the brunt of the deadly forces. In THE LUO DREAMERS' ODYSSEY: FROM THE SUDAN TO AMERICAN POWER--a novel inspired by and about the Obama Presidency--I endeavor to make a tortuous historical-cum-spiritual fictional march of my Luo people from their slow fifteenth-century times in Old Sudan to East Africa, only for one of us to occupy the world's only citadel of power. If some of my predictions about the current American Presidency seem to have come to pass, they have to be taken as illustrations of what thoughtful fiction (science or otherwise) can achieve. Collectively, in the novels, THE WISE ONE OF RAMOGILAND, THE LUO DREAMERS' ODYSSEY: FROM THE SUDAN TO AMERICAN POWER, and BIRTHRIGHT (A LUO TRAGEDY), I shed a sage's torch, liberally illuminating various aspects of the Luo journey, Luo cultural practices, Luo spirituality, and Luo thought. No wonder, my literary breakthrough novel BIRTHRIGHT (A LUO TRAGEDY) has been a classroom text in African Anthropology at an American University. Finally, the novels, NOT ON MY SKIN, THE AMERICAN POLYGAMIST, SINS OF OUR HEARTS, THE CHOIRMASTER (A SPIRITUAL TRAGEDY), and MAYA, I explore our day's very dynamic American experience, consciousness, and attitudes at street level, inside houses of worship, and at the work place. My readers could be right, my literary journey no longer is recreational; like aged wine, it has come of age. Welcome, sample it, and however it tastes, let others know, and holler here on amazon. http://www.amazon.com/Joseph-R.-Alila/e/B002QD5TDM

Maya (A Novel)

MAYA, Joseph R Alila, author of “Birthright (a Luo Tragedy),” (http://www.amazon.com/Joseph-R.-Alila/e/B002QD5TDM) brings yet another narrative about the lives of ordinary people with human flaws, from which each of them can only run away, or ignore, at his or her own peril. Maya Boone faces a legal quandary over a death she has witnessed from her hideout on Eagle Street, Harmony, New York. First, she watches Raul, the troublesome husband from whom she is hiding, kill a bulldog. When Maya crosses Eagle Street to enquire whether the dog’s owner (Mike) is suing Raul, she instead falls in love with the heartbroken man, lures him to her bed, and even contemplates witnessing against Raul. The brief affair ends quickly because Mike becomes a victim to an enraged boyfriend’s arrow of passion. Wounded and helpless, Mike falls into the hands of a moonlighting evangelist named Booker who has a score to settle with him. There is no mercy for Mike, only a slow death, because Booker wishes to maintain his cover while moonlighting at Bar Delirium. With Mike dead, Maya’s distant past soon confronts her because, also witnessing the events leading to the murder on Eagle Street is Officer Jimmy Depuy—a child Maya abandoned at birth forty years before. Neither Raul nor Maya nor Officer Depuy knows about their shared bond. Then one Detective John unearths the blood knot linking Jimmy Depuy to the Rauls, and soon District Attorney Hess is advancing criminal motives against the trio. In MAYA, JR Alila weaves yet another intricate narrative that should appeal to those readers who seek to understand, in human character, matters beyond the mundane of daily life. Check here: http://www.amazon.com/Joseph-R.-Alila/e/B002QD5TDM

Author JR Alila

Author, Poet and Novelist Joseph R. Alila is a native of Kenya. JR Alila is a Chemist by training. JR Alila considers creative writing to be a natural consequence of the aging process. JR Alila has written extensively on his Luo people's marriage and other cultural practices, criticizing them where criticism is due, and shedding a sage's light so as to put meaning to old traditions. JR Alila's mournful caution against the practice of polygamy in the era of the AIDS virus comes in SUNSET ON POLYGAMY. JR has written extensively on pride, bigotry and prejudice in the spiritual/cultural novels, THE MILAYI CURSE, NOT ON MY SKIN, and SINS OF OUR HEARTS.
In his writings, JR treats each of his characters as "the total person"---a writing style that has made such works as WHISPER TO MY ACHING HEART, SUNSET ON POLYGAMY, THE LUO DREAMERS' ODYSSEY: FROM THE SUDAN TO AMERICAN POWER, NOT ON MY SKIN, and THE WISE ONE OF RAMOGILAND, to be informative anthropological treatises on people and their physical, spiritual, political, cultural, and social circumstances.
When JR set out to write he had no voice or agenda. His objective was to tell stories about his Luo people and his experiences as a Christian, a Luo, an African, and a World Scholar uprooted from his home base to chase scientific dreams. But Eight Novels and two Epic Poems (RATENG' AND BRIDE and THIRTEEN CURSES ON MOTHER AFRICA) later, he finds himself speaking increasingly for the burdened and voiceless African women and widows (in THE THIRTEENTH WIDOW, SUNSET ON POLYGAMY, and WHISPER TO MY ACHING HEART) whose yokes are the marital culture and practices whose original intentions were protective, but now turned spiritual death traps from which there is no escape.
JR has found his political voice in RATENG' AND BRIDE (Kenya's 2007 Presidential contest), THE LUO DREAMERS' ODYSSEY: FROM THE SUDAN TO AMERICAN POWER (A historical-cum-spiritual fictional march of the Luo into the world's only citadel of power---inspired by Obama Presidency), and THIRTEEN CURSES ON MOTHER AFRICA (An Epic Poem; theme: Africa is deluded with perilous crises, a lot of which are due to amnesia, poor leadership choices, greed, greedy friends and brother-on-brother conflicts, with Ebony the African Woman and her children bearing the brunt of their deadly consequences).
Eight novels and two epic poems later, in THE WISE ONE OF RAMOGILAND and THE LUO DREAMERS' ODYSSEY: FROM THE SUDAN TO AMERICAN POWER, JR Alila comes out as a sage's torch illuminating various aspects of the Luo journey, Luo cultural practices, Luo spirituality, and Luo thought.
Finally in the novel, NOT ON MY SKIN, JR Alila describes the American experience, consciousness and attitudes at street level, inside houses of worship and at the work place. This author has come of age.

These books are now available at Amazon AUTHOR CENTRAL, where this Author/Poet/Novelist from Nhiwa (Kenya) is proudly featured. This author has come of age, friends and fans.
http://www.amazon.com/-/e/B002QD5TDM