The Role of the Writer in Africa
What then were we to do as writers? What was our role in our new country? How were we to think about the use of our talents? I can say that when a number of us decided that we would be writers, we had not thought through these questions very clearly. In fact, we did not have a clue what we were up against. What I can say is that it was clear to many of us that an indigenous African literary renaissance was overdue. A major objective was to challenge stereotypes, myths, and the image of ourselves and our continent, and to recast them through stories — prose, poetry, essays, and books for our children. That was my overall goal.
When a number of us decided to pick up the pen and make writing a career there was no African literature as we know it today. There were of course our great oral tradition — the epics of the Malinke, the Bamana, and the Fulani — the narratives of Olaudah Equiano, works by D.O. Fagunwa and Muhammadu Bello, and novels by Pita Nwana, Amos Tutuola, and Cyprian Ekwensi.
Across the African continent, literary aficionados could savor the works of Egyptian, Nubian, and Carthaginian antiquity; Amharic and Tigrigna writings from Ethiopia and Eritrea; and the magnificent poetry and creation myths of Somalia. There was more — the breathtakingly beautiful Swahili poetry of East and Central Africa, and the chronicles, legends, and fables of the Ashanti, Dogon, Hutu, Kalanga, Mandingo, Ndebele, Ovambo, Shona, Sotho, Swazi, Tsonga, Tswana, Tutsi, Venda, Wolof, Xhosa, and Zulu.
Olive Schreiner’s nineteenth-century classic Story of an African Farm and works by Samuel Mqhayi and Thomas Mofolo, Alan Paton, Camara Laye, Mongo Beti, Peter Abrahams, and Ferdinand Oyono, all preceded our time. Still, the numbers were not sufficient.
And so I had no idea when I was writing Things Fall Apart whether it would even be accepted or published. All of this was new — there was nothing by which I could gauge how it was going to be received.
Writing has always been a serious business for me. I felt it was a moral obligation. A major concern of the time was the absence of the African voice. Being part of that dialogue meant not only sitting at the table but effectively telling the African story from an African perspective — in full earshot of the world.
The preparation for this life of writing, I have mentioned, came from English-system-style schools and university. I read Shakespeare, Dickens, and all the books that were read in the English public schools. They were novels and poems about English culture, and some things I didn’t know anything about. When I saw a good sentence, saw a good phrase from the Western canon, of course I was influenced by it. But the story itself — there weren’t any models. Those that were set in Africa were not particularly inspiring. If they were not saying something that was antagonistic toward us, they weren’t concerned about us.