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Hullo, Bu-Bye, Koko, Come In
The title of the book is inspired by a South African phrase made famous by the legendary musician Brenda Fassie in her 1992 song, Istraight lendaba.
Like the legend who inspired the book title and the song from which the name of this poetry collection was selected, Putuma wanted to build on the themes she explored in her first book, Collective Amnesia, and go straight to the heart of tackling the legacies of black femme erasure from society as well as in the arts.
The success of Collective Amnesia, a bestseller that has sold over 6000 copies and been translated into eight languages around the world, saw Putuma perform for audiences across the continent as well as in Europe.
“In writing Hullo, Bu-bye, Koko, Come in, I wanted to reflect on my personal experiences of travelling and performing outside of South Africa and more specifically, Europe. I wanted to understand different aesthetics and forms of memory, documentation, performance, hyper-visibility and erasure. I wanted to look at how those things frame our understanding of women in the archive, legacies of archiving, celebration, fame, culture and black women on and off the stage,” Putuma says.
The book is divided into four chapters dealing with subjects related to history, the erasure of black women from the archive and more personal poems where Putuma resuscitates the stories of women in her lineage who have had an influence on her life.
“I wanted these excerpts to serve as a conversation between the poems and an archive of sorts - an archive of black women (living and dead) who are looked at, celebrated, uncited, erased and exploited. I wanted to make visible the words of black women who have had to navigate the complexities of a constant gaze that often renders the “looked at” invisible. In my quest, I wanted to further understand and challenge my own methods of citation, documentation and seeing – and in doing that – invite others to do the same,” she says.
Like the legend who inspired the book title and the song from which the name of this poetry collection was selected, Putuma wanted to build on the themes she explored in her first book, Collective Amnesia, and go straight to the heart of tackling the legacies of black femme erasure from society as well as in the arts.
The success of Collective Amnesia, a bestseller that has sold over 6000 copies and been translated into eight languages around the world, saw Putuma perform for audiences across the continent as well as in Europe.
“In writing Hullo, Bu-bye, Koko, Come in, I wanted to reflect on my personal experiences of travelling and performing outside of South Africa and more specifically, Europe. I wanted to understand different aesthetics and forms of memory, documentation, performance, hyper-visibility and erasure. I wanted to look at how those things frame our understanding of women in the archive, legacies of archiving, celebration, fame, culture and black women on and off the stage,” Putuma says.
The book is divided into four chapters dealing with subjects related to history, the erasure of black women from the archive and more personal poems where Putuma resuscitates the stories of women in her lineage who have had an influence on her life.
“I wanted these excerpts to serve as a conversation between the poems and an archive of sorts - an archive of black women (living and dead) who are looked at, celebrated, uncited, erased and exploited. I wanted to make visible the words of black women who have had to navigate the complexities of a constant gaze that often renders the “looked at” invisible. In my quest, I wanted to further understand and challenge my own methods of citation, documentation and seeing – and in doing that – invite others to do the same,” she says.
113 pages, Kindle Edition
First published April 29, 2021
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135 people want to read
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Displaying 1 - 17 of 17 reviews
August 21, 2022
Perfect. Perfect. Perfect. 🤩
And if any of you think differently don’t bother telling me 🥹 I’m just going to pretend like I didn’t see your comment 🧍🏾♀️
I was 100% the target market of this poetry collection 🥹. In case you didn’t notice, I try my absolute best to read books by black women writers or queer writers and that’s because when you consider the amount of visibility given to those writers, it’s minute. Sometimes what comes across as popular on African/Black bookstagram is not as popular as you think in the grander scheme of hashtags and and and (so read and share those seemingly popular books (the black ones pls 👀), it’s never really enough 🥹)
So to come across a poetry collection that focuses on the (re)inscription of black women, especially black queer women — women who impacted our music industry, our political spaces but then were simply ✨forgotten✨, ✨used✨ or ✨pushed✨ (back?) into the margins brings joy to my likkle heart. To come across a poetry collection that protests against the mistreatment of black women fills me with pride. To see a poetry book encapsulate and acknowledge what it means to be a black woman in this country and the world, makes me feel seen 🥺.
And all those citations? Please the cherry on top of an already perfect book- Putuma said “You really think I’m going to let y’all forget all these incredible women (again)? HELL NO 😠”
I will always consider Koleka Putuma as an intrinsic part of our literary space now and forever, amen!
And if any of you think differently don’t bother telling me 🥹 I’m just going to pretend like I didn’t see your comment 🧍🏾♀️
I was 100% the target market of this poetry collection 🥹. In case you didn’t notice, I try my absolute best to read books by black women writers or queer writers and that’s because when you consider the amount of visibility given to those writers, it’s minute. Sometimes what comes across as popular on African/Black bookstagram is not as popular as you think in the grander scheme of hashtags and and and (so read and share those seemingly popular books (the black ones pls 👀), it’s never really enough 🥹)
So to come across a poetry collection that focuses on the (re)inscription of black women, especially black queer women — women who impacted our music industry, our political spaces but then were simply ✨forgotten✨, ✨used✨ or ✨pushed✨ (back?) into the margins brings joy to my likkle heart. To come across a poetry collection that protests against the mistreatment of black women fills me with pride. To see a poetry book encapsulate and acknowledge what it means to be a black woman in this country and the world, makes me feel seen 🥺.
And all those citations? Please the cherry on top of an already perfect book- Putuma said “You really think I’m going to let y’all forget all these incredible women (again)? HELL NO 😠”
I will always consider Koleka Putuma as an intrinsic part of our literary space now and forever, amen!
June 23, 2021
Hullo Bu-Bye Koko Come Ini is South African writer Koleka Putuma’s sophomore poetry collection following her celebrated debut Collective Amnesia (which is in its impressive 12th print run I believe). The new collection now takes some of the elements of the debut (clear political involvement, centering experiences of women (especially Black and queer ones), working with footnotes, stark imaginary) but evolved them, seasoned with further elements such as quotes, repetitions of certain stylistic elements (like stylizing the writing and editing process into poetry). There is a tenderness woven throughout the collection which makes harsh realities portrayed fall even harder.
Putuma evokes, quotes, alludes to and explicitly writes about authors such as Ntozake Shange, Audre Lorde (“yes lord, yes Lorde”), Tsitsi Dangarembga (who is still best known for her classic Nervous Conditions but has recently picked up a couple of well-deserved prizes for her overall legacy), Afro-German poet, writer, activist May Ayim, Ama Ata Aidoo, Lorraine Hansberry, musicians and singers like Nina Simone, Miriam Makeba, Makhadzi, and South African lesbian legend Brenda Fassie, as well as many (other) women who have fought against Apartheid (especially in the heart-breaking and angry poem “you built this country with your movements, too”). These are not random choices and not references for reference sake but this new collection speaks of lineage, of community, of (often complicated) interconnectedness – and it writes on against erasure.
Highly recommend picking this one up.
Putuma evokes, quotes, alludes to and explicitly writes about authors such as Ntozake Shange, Audre Lorde (“yes lord, yes Lorde”), Tsitsi Dangarembga (who is still best known for her classic Nervous Conditions but has recently picked up a couple of well-deserved prizes for her overall legacy), Afro-German poet, writer, activist May Ayim, Ama Ata Aidoo, Lorraine Hansberry, musicians and singers like Nina Simone, Miriam Makeba, Makhadzi, and South African lesbian legend Brenda Fassie, as well as many (other) women who have fought against Apartheid (especially in the heart-breaking and angry poem “you built this country with your movements, too”). These are not random choices and not references for reference sake but this new collection speaks of lineage, of community, of (often complicated) interconnectedness – and it writes on against erasure.
Highly recommend picking this one up.
May 6, 2023
I saw Poppie Nongena, a film adaption of Elsa Joubert's award-winning novel Die Swerfjare van Poppie Nongena, about a month ago. After seeing that film, I wondered why women's stories are not given the same weight as men's in our society. We have documentaries and films about Biko, Sobukwe, Mahlangu, Fischer, and let's not forget Mandela.
Prior to watching Poppie Nongena, I could only recall Winnie Mandela's films about women's struggles during apartheid. However, women as much as men lived during the times of struggle in South Africa. I believe it is critical for women's voices to be heard and their stories to be recounted, which has been neglected in the country. Hullo, Bu-Bye, Koko, Come In is an imported collection of poetry that shines a spotlight on queer and women's issues and amplifies their voices.
Koleka Putuma's collection is unapologetically and brutally honest. Nina Simone talks about the duties of an artist in one of her interviews:
Putuma is a true artist in my opinion because her work accurately portrays the times.
Some of the poetry moved me, but others did not. I wasn't always a fan of her writing style, but I'm giving this book 5 stars because, as I previously stated, it's critical that women's stories be heard and that such books reach as many people as possible.
This is a book I wholeheartedly recommend.
--
Prior to watching Poppie Nongena, I could only recall Winnie Mandela's films about women's struggles during apartheid. However, women as much as men lived during the times of struggle in South Africa. I believe it is critical for women's voices to be heard and their stories to be recounted, which has been neglected in the country. Hullo, Bu-Bye, Koko, Come In is an imported collection of poetry that shines a spotlight on queer and women's issues and amplifies their voices.
Koleka Putuma's collection is unapologetically and brutally honest. Nina Simone talks about the duties of an artist in one of her interviews:
"An artist's duty, as far as I'm concerned, is to reflect the times. I think that is true of painters, sculptors, poets, musicians. As far as I'm concerned, it's their choice, but I CHOOSE to reflect the times and situations in which I find myself. That, to me, is my duty. And at this crucial time in our lives, when everything is so desperate, when everyday is a matter of survival, I don't think you can help but be involved. Young people, black and white, know this. That's why they're so involved in politics. We will shape and mold this country or it will not be molded and shaped at all anymore. So I don't think you have a choice. How can you be an artist and NOT reflect the times? That to me is the definition of an artist."
Putuma is a true artist in my opinion because her work accurately portrays the times.
Some of the poetry moved me, but others did not. I wasn't always a fan of her writing style, but I'm giving this book 5 stars because, as I previously stated, it's critical that women's stories be heard and that such books reach as many people as possible.
This is a book I wholeheartedly recommend.
--
let us count the ways:
your publisher
is owed money by distributors
who are owed money by bookstores
that mount books about america and its presidents
in their storefront displays
instead of books by african authors
when you ask the cashier
if they have stocks of your book
she leads you to the only copy left
squeezed and lost
between cookbooks
and self-help books
at the panel discussion
the moderator asks
how it feels to be a bestseller
you ramble about
gratitude
the integration of imagination and
the cost of books in this country
you are too ashamed
to also mention
that there have been times
you could not afford your own book
that it has taken you
not fully owning your story
to know the cost of your story.
May 21, 2021
Koleka Putuma's words are power
December 2, 2024
Whoa!
Reread in 2024. Koleka Putuma is absolutely brilliant.
Reread in 2024. Koleka Putuma is absolutely brilliant.
July 6, 2021
Highly recommend this read. What a privilege to experience Koleka's writings.
March 11, 2024
This collection is truly everything!
Putuma’s words are unapologetic and relevant.
This collection made me feel - I felt hurt, sad, and empty reading this collection.
I had no idea what to anticipate as this was my first exposure to the author and her work. I certainly did not think her poems would be deep and powerful.
The title of the book is inspired by a South African phrase made famous by the legendary musician Brenda Fassie in her 1992 song, Istraight lendaba.
Divided into four (4) chapters, this collection explores the erasure of Black women, culture/society and arts.
I highly recommend this book
Putuma’s words are unapologetic and relevant.
This collection made me feel - I felt hurt, sad, and empty reading this collection.
I had no idea what to anticipate as this was my first exposure to the author and her work. I certainly did not think her poems would be deep and powerful.
The title of the book is inspired by a South African phrase made famous by the legendary musician Brenda Fassie in her 1992 song, Istraight lendaba.
Divided into four (4) chapters, this collection explores the erasure of Black women, culture/society and arts.
I highly recommend this book
October 14, 2021
Excellent! She did it again! This time she writes about the erasure of black women from history by men (both white and black) and shows us several instances this happened in history by re-writing the history of popular feminists from her home country such as Winnie Mandela and Brenda Fassie.
She also examines the height cost of pursuing a career in the arts and pays tribute to the late Mary Ayim and other poets.Other themes are feminism, patriotism, racism ,GBV and trauma
Ultimately, it’s the way she breaks the rules about form and the modification of syntax and structure that makes me in awe of her work. The TOC alone is a proper poem.
As a non-South African, I found that I had to work harder to understand some poems in this collection than I did with Collective Amnesia. But only because some of the incidents she cited were news to me.
Regardless, I highly recommend it.
She also examines the height cost of pursuing a career in the arts and pays tribute to the late Mary Ayim and other poets.Other themes are feminism, patriotism, racism ,GBV and trauma
Ultimately, it’s the way she breaks the rules about form and the modification of syntax and structure that makes me in awe of her work. The TOC alone is a proper poem.
As a non-South African, I found that I had to work harder to understand some poems in this collection than I did with Collective Amnesia. But only because some of the incidents she cited were news to me.
Regardless, I highly recommend it.
August 12, 2025
This poetry collection is divided into four sections (Hullo, Bu-Bye, Koko and Come In) and explores the Black Queer Woman’s experience in South Africa. The title of the poetry collection comes from the “Queen of African Pop” Brenda Fassie (the song Istraight Lendaba).
In the first section, Hullo, Putuma explores a woman poet or author’s identity being exhibitioned, questioned and displayed as a commodity, for the pleasure of the reader, the white gaze. In the second section, Bu-Bye she focuses on being a woman and the violence, fear and death that this brings with it in South Africa and in the world at large. This section explores violence before death, such as emotional and bodily violence and violence after death, such as tarnished or false legacies, erasure from history and reduction to numbers. This section is brutal but powerful and the narrative voice is regretful and disappointed but not afraid. The third section, Koko, pays homage to women freedom fighters in South Africa exploring their contributions, motivations, position in regard to men and erasure from history. The final section, Come in, combines the themes of the previous three sections with ideas around inheritance, legacy and memory.
Structurally, the poems resist coventiomal forms and instead include scattered phrases, fragmented lines, and backspaced revisions. This and their lack of formal titles creates an intimate, almost journal‑like feel that invites individual pauses and interpretation. Theoughout the collection she includes footnotes and references to influential Black women including Brenda Fassie, Winnie Mandela and Miriam Makeba (among others). It is worthwhile reading through wikipedia entries as she mentions them!
The collection is unflinching, intimate and violent but paints such a picture of the position and role of Black women in current and past South Africa. Throughout her poetic licence conjures brilliant and cutting insights disguised as merely poetic such as:
* “ stolen is a soft euphemism for auctioned here / the auction is a middle passage for loaned treasures”
* “i am a habit mistaken for a saviour”
* “i stand guard outside her body, while she didapoears for the both of us”
* “we are disremembered even in poetry, we are punchlines between fingers snapping”
* “you both speak avoidance fluently”
In the first section, Hullo, Putuma explores a woman poet or author’s identity being exhibitioned, questioned and displayed as a commodity, for the pleasure of the reader, the white gaze. In the second section, Bu-Bye she focuses on being a woman and the violence, fear and death that this brings with it in South Africa and in the world at large. This section explores violence before death, such as emotional and bodily violence and violence after death, such as tarnished or false legacies, erasure from history and reduction to numbers. This section is brutal but powerful and the narrative voice is regretful and disappointed but not afraid. The third section, Koko, pays homage to women freedom fighters in South Africa exploring their contributions, motivations, position in regard to men and erasure from history. The final section, Come in, combines the themes of the previous three sections with ideas around inheritance, legacy and memory.
Structurally, the poems resist coventiomal forms and instead include scattered phrases, fragmented lines, and backspaced revisions. This and their lack of formal titles creates an intimate, almost journal‑like feel that invites individual pauses and interpretation. Theoughout the collection she includes footnotes and references to influential Black women including Brenda Fassie, Winnie Mandela and Miriam Makeba (among others). It is worthwhile reading through wikipedia entries as she mentions them!
The collection is unflinching, intimate and violent but paints such a picture of the position and role of Black women in current and past South Africa. Throughout her poetic licence conjures brilliant and cutting insights disguised as merely poetic such as:
* “ stolen is a soft euphemism for auctioned here / the auction is a middle passage for loaned treasures”
* “i am a habit mistaken for a saviour”
* “i stand guard outside her body, while she didapoears for the both of us”
* “we are disremembered even in poetry, we are punchlines between fingers snapping”
* “you both speak avoidance fluently”
June 2, 2024
@kolekaputuma new poetry book launched recently and ya girl finally got herself a copy!
Hullo, Bu-Bye Koko; Come In is filled with poems that will sit with you long after you've put the book down.
Inspired by a phrase made famous by the legendary Brenda Fassie, this poetry collection further explores themes tackled in Collective Amnesia (her first poetry collection), mainly the complexity and erasure of the black femme experience, both in society and in the arts.
I loved the motif of the backspace reoccurring in many of these poems. I thought it helped drive home the theme of the book quite effectively.
One of my favourite things of Koleka's poetry is how I can easily picture it being performed, I can hear it being said.
I also really like the references she used and how they were utilitised.
Currently my favourite in this book is the weight of remembering. I would love to hear yours!
If you're interested in buying this book check out her website (kolekaputuma.com) or go to a CNA near you!
Have you read this book yet? Have you ever tried Koleka's poetry? Do you have a favourite poem of hers? Would love to hear your thoughts!
Hullo, Bu-Bye Koko; Come In is filled with poems that will sit with you long after you've put the book down.
Inspired by a phrase made famous by the legendary Brenda Fassie, this poetry collection further explores themes tackled in Collective Amnesia (her first poetry collection), mainly the complexity and erasure of the black femme experience, both in society and in the arts.
I loved the motif of the backspace reoccurring in many of these poems. I thought it helped drive home the theme of the book quite effectively.
One of my favourite things of Koleka's poetry is how I can easily picture it being performed, I can hear it being said.
I also really like the references she used and how they were utilitised.
Currently my favourite in this book is the weight of remembering. I would love to hear yours!
If you're interested in buying this book check out her website (kolekaputuma.com) or go to a CNA near you!
Have you read this book yet? Have you ever tried Koleka's poetry? Do you have a favourite poem of hers? Would love to hear your thoughts!
July 8, 2021
Koleka wrote this anthology for all the moghels. From the med-school students to Brenda Fassie and the other performers in the addendums to the women who fought for this country too.
There is anger and there’s heartbreak.
There’s nostalgia and there is pain.
I definitely will be reading this one again.
Ps. Support South African authors!!!!!
There is anger and there’s heartbreak.
There’s nostalgia and there is pain.
I definitely will be reading this one again.
Ps. Support South African authors!!!!!
January 3, 2022
I love how Koleka plays with form and transgresses its boundaries.
May 10, 2023
4.5⭐️. I loved this poetry collection.
December 31, 2023
Koleka Putuma is a giant and this is an important and necessary read!
October 20, 2025
one more reading for my class
November 6, 2025
"Writing
As it was
As it is
Is how we exhume
The bodies
And give them
Names."
holy incredibly beautiful
As it was
As it is
Is how we exhume
The bodies
And give them
Names."
holy incredibly beautiful
November 14, 2024
What an adventure this life thing is. Poetry makes life so beautiful, colourful and reflective…
“So is it:
May-kay-ba
Mer-ker-bi
Mu-ka-ba
Me-ker-bah
Mi-kay-beh
and you polite and inoffensive
Makeba, yes.”
“So is it:
May-kay-ba
Mer-ker-bi
Mu-ka-ba
Me-ker-bah
Mi-kay-beh
and you polite and inoffensive
Makeba, yes.”
This entire review has been hidden because of spoilers.
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