One of Ethiopia’s most beloved literary classics, Fikir Eske Mekabir (Love Unto Grave), has become the center of a heated legal and cultural debate as its television adaptation faces copyright disputes and challenges from the descendants of the late author, Haddis Alemayehu.

Fikir Eske Mekabir (ፍቅር እስከ መቃብር), translated as Love to the Grave, is a seminal Amharic novel by Ethiopian author Haddis Alemayehu, first published in 1968. Widely regarded as a classic of modern Ethiopian literature, it offers a profound exploration of love, fate, and societal transformation.

The narrative centers on Bezabeh, the only child of Wudinesh and Bogale. Bogale, having lost his parents at a young age, led a life of poverty until he married Wudinesh, a woman with a tragic history of three deceased husbands. Their son, Bezabeh, faces a series of life-threatening illnesses during his early years, including a febrile seizure (ankelis), a respiratory ailment (kuwakuat), and measles. These health challenges profoundly impact the family’s dynamics and the unfolding of the story .

Parallel to this, the novel introduces Seble, the daughter of a nobleman named Meshesha. Despite her beauty and noble lineage, Seble remains unmarried, deeming no suitor worthy. However, her encounter with Bezabeh, a tutor, sparks a forbidden romance. Their love story unfolds amidst the backdrop of feudal Ethiopian society, highlighting themes of class disparity, societal expectations, and the tension between tradition and modernity.

The drama, which sought to bring the iconic 1968 novel to life for a new generation of viewers, quickly captured the public’s attention. But just as it was gaining momentum, controversy struck: members of the author’s family alleged that the producers had failed to properly secure rights to the story. They argued that the adaptation violated copyright protections and dishonored the intellectual legacy of one of Ethiopia’s most celebrated writers.

The case reached Ethiopian courts earlier this year, leading to a temporary ban on airing the series. However, the ban was later lifted, allowing the drama to return to broadcast amid both relief and renewed tension. While producers defended the show as a cultural tribute that introduces the younger generation to a timeless love story, critics accused them of exploiting the novel without full legal and moral accountability.

The dispute has sparked wider discussions in Ethiopia’s entertainment industry. Many artists and writers see the Fikir Eske Mekabir case as a turning point in the fight for stronger copyright protections. “This is not just about one book or one drama,” said a cultural commentator in Addis Ababa. “It is about setting standards. If the intellectual property of a national treasure like Haddis Alemayehu can be contested, what does that mean for future authors and filmmakers?”

Meanwhile, viewers remain caught in the middle. Some fans argue that the legal wrangling overshadows the beauty of the story and disrupts Ethiopia’s progress in creating high-quality local television. Others say the fight is necessary to respect literary legacies and ensure that artists and their families benefit fairly from their work.

As Ethiopia’s entertainment industry grows, the Fikir Eske Mekabir saga may shape how future adaptations of literature, music, and art are handled — balancing creative freedom with the rights of authors and their heirs.

For now, the drama continues both on-screen and off, with audiences watching closely to see whether Ethiopia can find a path where art, law, and respect for legacy meet.