Zimbabwean author Sue Nyathi has sparked a major copyright debate in East Africa after accusing a Nairobi bookstore of selling pirated copies of her novel The Polygamist. The book, which was recently adapted into a Netflix series, has seen renewed global attention following its on screen success. Nyathi publicly raised the issue on social media, naming a bookstore along Ronald Ngala Street in Nairobi as the source of the alleged infringement. Her statement quickly gained traction among writers, publishers, and readers across the region. The incident has once again highlighted the ongoing challenge of literary piracy in African markets.
Sue Nyathi posted a screenshot showing copies of her book allegedly displayed at Affordable Books, alongside a strong warning about copyright violations. She stated that she was already working to make official copies available in Kenya through legitimate distribution channels. In her message, she emphasized that copyright infringement is a crime and urged readers not to support pirated material. The post triggered widespread discussion about how books are distributed and protected in the region. It also brought attention to the vulnerability of authors whose work gains sudden popularity after adaptations.
The renewed interest in The Polygamist has been driven largely by its successful Netflix adaptation, which has introduced the story to a global audience. The series, produced by Stained Glass, follows a wealthy businessman whose personal choices lead to the collapse of his empire. The show features a well known cast including actors such as Gugu Gumede, S’dumo Mtshali, and Kenneth Nkosi, among others. Since its release on 12 June, the series has performed strongly on Netflix, ranking in multiple countries and attracting millions of viewing hours. This global visibility has also increased demand for the original novel, especially in African markets.
The surge in demand has exposed weaknesses in the distribution and protection of literary works, particularly in informal retail environments. Nyathi’s complaint has reignited concerns about piracy in Kenya, where counterfeit books are often sold openly despite existing copyright laws. Industry observers note that authors from the continent are often the most affected, especially when their work gains sudden popularity. Reports from publishing associations have previously estimated significant revenue losses due to piracy, particularly in the educational and literary sectors. The situation shows how increased visibility can sometimes lead to increased exploitation of creative work.
Kenyan author Collins Sakwah Ongoma also weighed in on the issue, stating that book piracy remains a persistent challenge in Nairobi’s book market. He noted that pirated African literature is frequently found in open markets, despite ongoing concerns from writers and publishers. His comments reflect a broader frustration within the literary community about enforcement gaps. Many authors argue that piracy undermines both creative work and the sustainability of publishing industries. The discussion has placed renewed pressure on authorities and distributors to strengthen protections for intellectual property.
In response to the allegations, the Kenya Copyright Board advised the author to formally report the matter through its infringement reporting platform for investigation and action. The bookstore’s social media post promoting the books has since been removed, although it remains unclear whether the physical copies have been withdrawn from sale. The situation continues to develop as stakeholders assess the extent of the alleged infringement. For Sue Nyathi, the incident highlights the broader struggle authors face in protecting their work across borders. The controversy serves as a reminder of the ongoing need for stronger enforcement and fair access to creative content in the region.
