Wole Adedoyin interviews Carolyn W. Gatonye: Poetry Holds a Unique Power to Create Awareness About Human Rights Issues

WA: CAN YOU INTRODUCE YOURSELF AND TELL US ABOUT YOUR BACKGROUND AS A POET?
GATONYE: My name is Carolyn W. Gatonye, a Kenyan writer, author, tech professional, and a student of law. I have been writing poetry since I was young—scribbling verses at the back of my exercise books, letting words speak what I could not say out loud. It is through poetry that I learned to find my voice. I often integrate poetry into my short stories and analytical works, weaving rhythm into both research and storytelling. My journey as a poet is deeply tied to my identity as a Kenyan. I write about what I witness and what I learn from the history of African people. I write about injustice and hope, trying to turn tension into lines that speak for those who feel unheard. I believe poetry is both art and expression—dissent included.

WA: HOW DID YOU HEAR ABOUT THE AFRICAN HUMAN RIGHTS POETRY COMPETITION?
GATONYE: I was working on a research paper on human rights when I came across the Human Rights Art Movement website. As soon as I saw the call for submissions, I knew I had to send in a piece.

WA: WHAT INSPIRED YOU TO PARTICIPATE IN THIS COMPETITION?
GATONYE: I have a deep passion for human rights, and it felt natural to let my poetry join the conversation. I believe voices should not remain silent when bodies are being silenced. After working on a class project about tensions in the Democratic Republic of Congo and the brutal realities faced by women in conflict zones, I felt a responsibility to lend my voice, however small, to their stories. I wrote I Hope She Wears My Skin because these are not distant tragedies—they are recurring wounds across our continent, and they demand to be witnessed. The competition felt like a space where truth could meet art, and where art could stand for justice.

WA: WHAT SPECIFIC HUMAN RIGHTS ISSUE DID YOUR POEM FOCUS ON?
GATONYE: My poem addresses several violations, but at its core is sexual violence in conflict zones, especially against women. It explores how women’s bodies become battlegrounds, how silence becomes normalized, and how justice often arrives too late—if at all. It also reflects on resource exploitation, collective grief, and the quiet complicity of a watching world. At its heart, the poem is a demand for justice that is real—justice that carries the weight and lived reality of those who have suffered. It is also about dignity lost.

WA: WHY DID YOU CHOOSE THAT PARTICULAR HUMAN RIGHTS THEME FOR YOUR POEM?
GATONYE: I chose this theme because sexual violence against women is often ignored in many African societies, yet it leaves lifelong scars. In some places, it remains a taboo subject. In conflict zones, such violence is normalized and silenced, even though it devastates families and communities. It is often used as a weapon because of its deep psychological impact, leaving victims as shadows of themselves. These are stories buried beneath statistics and politics—stories of stripped human dignity. I wanted to write a poem that refuses to look away, one that holds space for pain while demanding justice that is real, loud, and uncompromising.

WA: CAN YOU SHARE THE INSPIRATION OR STORY BEHIND YOUR SUBMITTED POEM?
GATONYE: The inspiration came from my Public International Law class, where we studied the conflict involving M23, the Democratic Republic of Congo, and Rwanda. For a project, I created a documentary on Goma, and I encountered the harsh realities—atrocities against women, lifeless bodies in morgues, and the silence surrounding survivors. It was impossible to unsee.

Another source of inspiration was the stories of over 400 Indigenous women from the Samburu community in Kenya who accused military trainees of sexual violence dating back to 1983. Reading about their experiences and the silence surrounding their search for justice reminded me how often women’s bodies become battlegrounds during conflict while the world moves on. This poem became my way of holding space for these stories, refusing to let them be erased, and demanding justice—not symbolic justice in signed treaties, but justice that walks in the pain of those affected.

WA: HOW WOULD YOU DESCRIBE YOUR POETIC STYLE OR APPROACH?
GATONYE: I would describe my style as “witnessing through rhythm.” I write in a way that allows stories and silences to breathe on the page while refusing to look away from pain. I merge storytelling with imagery, allowing poems to carry both tenderness and truth. When I write about social and human rights issues, I try to let the poem become a voice for those who feel unheard.

WA: WHAT CHALLENGES DID YOU FACE WHILE WRITING YOUR ENTRY?
GATONYE: The biggest challenge was carrying the emotional weight of the stories. Writing about sexual violence is heavy, and there were moments I had to pause to process the pain. I also struggled with self-doubt—wondering whether my words could truly capture such deep injustice. But the emotional response I felt while writing reassured me that the poem would resonate with others.

WA: HOW CAN POETRY PROMOTE HUMAN RIGHTS IN AFRICA?
GATONYE: Poetry can exist in many spaces—it can be included in speeches, shared by public figures, performed on stages, and taught in classrooms. It keeps memory alive and sparks conversations where silence once existed. Poetry softens hearts while sharpening minds, making human rights issues feel immediate and urgent. In Africa, where storytelling shapes communities, poetry can inspire people to remember, reflect, and act.

WA: HOW HAS THIS COMPETITION BROADENED YOUR PERSPECTIVE?
GATONYE: It has shown me how art can serve as advocacy—how poetry can transform pain into collective memory that demands justice. Reading other poets’ work also revealed the shared struggles across Africa and the interconnected nature of human rights issues.

WA: WERE THERE ANY WORKS THAT INSPIRED YOU?
GATONYE: Yes, one poem titled In the Silence, a Scream is Born deeply moved me. It speaks powerfully about lives cut short and the weight of injustice.

WA: WHAT MESSAGE DO YOU HOPE READERS TAKE AWAY?
GATONYE: I want readers to understand that what happens to women in conflict zones is not collateral damage—it is a violation of humanity itself. Justice should not end with signed agreements; it must demand accountability. I hope readers feel the weight of these stories and recognize that silence does not erase atrocities. Most importantly, I hope the poem reminds them that we all have a role in protecting the dignity of women.

WA: HOW HAS THIS COMPETITION SHAPED YOU?
GATONYE: It has shown me that poetry can stand boldly in advocacy spaces. It has encouraged me to write with intention and courage, knowing that words can inspire action. It also reminded me of the power of community—seeing African poets unite for justice.

WA: DOES POETRY HAVE A UNIQUE ROLE IN HUMAN RIGHTS AWARENESS?
GATONYE: Yes, it does. Poetry carries stories into the heart in ways reports and speeches often cannot. It can be shared, performed, and remembered. It softens hearts while sharpening minds, making injustice impossible to ignore.

WA: HOW WAS YOUR EXPERIENCE COMPETING WITH OTHER AFRICAN POETS?
GATONYE: It was exciting. It is powerful to see that, across the continent, we share similar struggles and a collective hope for a better Africa.

WA: HOW DO YOUR PERSONAL EXPERIENCES SHAPE YOUR POETRY?
GATONYE: My personal experiences give my poetry authenticity and urgency. As a Kenyan, I have seen how injustice and hope coexist daily, and that reality shapes my voice.

WA: WHAT IMPACT DO YOU HOPE YOUR POETRY WILL HAVE?
GATONYE: I hope my poetry serves as both a mirror and a torch—a mirror reflecting injustice and a torch lighting paths toward accountability and healing. I want African stories to be heard globally and to remind the world that every life matters.

WA: HOW WILL YOU CONTINUE USING POETRY FOR ADVOCACY?
GATONYE: I plan to continue writing and sharing poetry that addresses human rights issues and to collaborate with organizations to integrate poetry into advocacy work.

WA: WHAT ADVICE DO YOU HAVE FOR FUTURE ENTRANTS?
GATONYE: Write. Write. Write. Keep writing. Let your voice be heard—because written words endure.

WA: ANY UPCOMING PROJECTS?
GATONYE: I am currently working on my second poetry collection, focused on African women’s stories. It explores themes of Black feminism in an African context, blending women’s struggles with legal perspectives. I also hope to collaborate with poets I connected with through IHRM. These collaborations will create spaces where poetry can continue to speak truth, build solidarity, and advocate for justice across Africa.

Carolyn W. Gatonye is a Kenyan writer, author, tech professional, and a student of law. In this interview with Wole Adedoyin, she shares her thoughts on poetry, human rights, and the role of art in advocacy.