Let the writers write about the drying dam; how it has become a national scapegoat. Let them explore the imagery of containment, of interference with free flow (free flow of water, free flow of ideas, free flow of information, free flow of booze) that would keep undergraduates engaged for many sleepless nights. Let the plot show how the drying dam is being used as a springboard to argue for the relocation of a capital city and as a strategy, as a smokescreen, to avoid addressing the causes of the dam’s emptiness. Let the parallelism of the drying dam on one hand and the lack of ideas, on the other, come out clearly in the plot. Let the characters be convincing like Achebe’s Rufus Okeke shouting through the pages, asking rhetorically: “Why walk when you can ride?” or the muscular Okonkwo declaring to a man lacking titles: “This meeting is for men.”
Let the writers not forget the historical relevance of pula and the dam to Batswana; how pula has been responsible for fissions and amalgamations of merafe. Let them write about the pula and the Pula; the pula in the dam and the Pula in the dam. Let the story demonstrate how the dam brings in the land issue: the landless, the owners of the land and the complex power relations. Let the writer allow the story to evolve to show the dam and the tribes, how the dam is being used in tribal bickering to perpetuate traditional hegemonic relations. Let the poet too write about the dam. Let him explore it’s sound relations to “damn” and acknowledge the plosive at the beginning of the word and the terminal bilabial that concludes the word with sealed lips. Let the poet write about the dam and the damned. Whatever happens, let the writer write.