I received so many responses to last week’s contest that I decided to create a new #contest to give away TWO MORE of Niq Mhlongo’s books, each autographed by him: After Tears and his newest release, Affluenza.
After a lot of traveling and a little bit of illness, I’m excited to bring back our ONLINE BOOK CLUB!
Celebrated South African author Niq Mhlongo answers your questions about his writing, and the books that made him famous. You submitted so many engaging questions for this author that I felt I owed it to you to dedicate TWO Writer Wednesdays to Mr. Mhlongo, and give TWO SIGNED BOOKS away: Dog Eat Dog for this week, and his newest book, Affluenza, in next week’s contest (winner will receive book after its upcoming launch.)
To enter, simply read today’s Q&A and see the details at the end to enter. Then come back next week and try for the second book giveaway!
Reader: Since Dog Eat Dog was your first book, what inspired you to start writing?
Niq Mhlongo: Well, I guess I was inspired by so many things. 1994 was a very memorable and historic time. It was the year in which my novel is set, and the year we finally witnessed democracy in South Africa. Because of those changes, I went to the university in 1994 (Wits University). Historically, Wits and other institutions were ‘formerly white’. I was born in an all-black township called Soweto where studying at Wits was a remote dream. But there I was, getting the best education. This meant being taught by white professors for the first time in the same class with white students who had all the privileges.
I also voted for the first time in 1994, a thing that was denied to my parents. I felt there was a need for me to record all this, as well as the challenges which were not easy to navigate. The best way of doing so was to write Dog Eat Dog, which is based on my reality of that time. Some of the challenges are still there today—racism, lack of funds, how to deal with the sudden freedom for which I was not prepared, accents of the white lecturers which was foreign to me, the cultural shock, the rite of passage from being a teenager to being a young responsible adult, from township to the city of Johannesburg that was near-yet-foreign, and from poorly equipped public school to university. The novel reflects on that, and on what was happening in South Africa around that time. So I had an inspiration by observing my society, paying attention to the gossip, to my dreams and wishes about the new South Africa. I wanted to share my joys and disillusionments with the rest of the world. Writing the novel fulfilled all those things.
Reader: I loved the details of day-to-day life and how much life at the Y was compared to Dingz’s life with his family. During the writing process, was this the plan? Are there any other parts of Dingz’s life that didn’t make it into the book?
Niq Mhlongo:Dog Eat Dog is my first published work. I didn’t have any experience whatsoever in publishing and writing before this. So, there were so many parts of Dingz life that didn’t make it into the book. But I didn’t despair when some of these parts were omitted from Dog Eat Dog. In fact After Tears and Way Back Home are born from the parts that were excluded from Dog Eat Dog. That is why it is difficult for me to call After Tears my second book, and Way Back Home my third book. They were all part of one fat manuscript called Dog Eat Dog. The lesson I learned is that if one chapter or idea doesn’t make it during editing process, don’t throw it away. It may as well be your next book.
Reader: Dog Eat Dog is about a nineteen-year-old student who makes it into Witwatersrand University, determined that an education will be the way to a better life than the one he’s known in Soweto. The book is set in 1994, centered around the general elections of that year, when I believe you were a student at Witwatersrand yourself. Why did you decide to fictionalize that time in your life, and how did you settle on your narrator?
Niq Mhlongo: Dog Eat Dog is a work of fiction that is influenced by my observations and experience of the reality. It includes my own personal experiences as well as those of others, gossip, hopes and fears, my personal judgment of the South African society, and so on. And yes, I did study at Wits, but some of the experiences are borrowed to make my point, and to make readers aware of the challenges of youth at universities here. Some of these challenges still happen today. You can easily compare the challenges of 1994 and the Fees Must Fall Campaign and the racism nuances, even though the context is different. So, Dingz’ experience cannot be my experience alone. I cannot claim all the credit, hence I fictionalized the experiences. The narrator came naturally. It made lot of sense to me to use a first person narrative. This made the book and events believable.
Reader: While I wasn’t always behind most of Dingz’s actions, I think it was a funny and accurate portrayal of how to get ahead in an inherently unfair system, especially for a young adult. At the beginning of the story he asked if he was going to end up back with the “hopeless drunken friends of mine.” At many points, it seems he has no hope. Based on what you’ve written, and compared to what you’ve seen, do you feel as if things are improving in South Africa, especially in areas around Soweto? And, how so?
Niq Mhlongo: Things have definitely improved a lot. In terms of infrastructure, Soweto has improved for the better. There are malls in each neighborhood and people no longer have to travel far to buy. Roads are paved and there’s electricity, although we have a problem of load-shedding every now and then. Soweto itself has expanded extensively in terms of population and the size of the township. In fact, the figures have doubled, leading to huge number of unemployment rate, shortage of housing, and so on. According to the unemployment statistics last year, 25% of South Africans are not employed. Soweto is the largest township in South Africa with about two to three million people. You can only imagine the kind of hopelessness that is being caused by unemployment.
Reader: The group of friends was my favorite aspect of the novel. Each has a distinctive personality and a sharp mind, and it’s a pleasure to read their boisterous interactions. They also provide the reader with a few moments when Dingz gets taken down a few notches but, as opposed to his confrontations with the police or the university administration, the only consequence is embarrassment. The friends are both the perfect foil and network of support for Dingz. Did you always mean for the friends to be so important to the story, or did their roles evolve while you were writing?
Niq Mhlongo: That’s a great observation. I think friendship plays a major role in my writing. I think one of the reasons I circled Dingz with friends is that the novel itself is set in the university environment where friendship is very important. These become the pillar of strength when one is away from family. University can be a very lonely place if you isolate yourself, and friends become a substitute for those longings for family. You are also not only educated by the lecturers, but also by the friends you have. Friends become important for survival in the sometimes not so friendly university environment.
Reader: Most of the dialogue is in English, but in some cases, such as the section with the driver, you give the audience both. (i.e. “’Nganimanje? Why?’ asked Themba, bewildered.”) Why did you make the change/addition here?
Niq Mhlongo: I wanted authenticity. The taxi industry in Johannesburg in particular is mostly Zulu. By this I mean that most of the language used in the taxi ranks and inside the taxis is isiZulu language. I could not think of a better way to capture the taxi environment reality than using this most spoken South African language. Otherwise my story would not have been authentic.
Reader: The story also nicely balances terrifying situations (like getting an STD) with humor. In a way, it educates the reader without taking away from the character. Dingz is impulsive, but resourceful. Where do you see him in present day?
Niq Mhlongo: The story is set in 1994 when South Africa was battling with the scourge of HIV/AIDS. It was the time of political denial, and the population was dying young because of the recklessness of the youth with regard to the AIDS pandemic. Dingz, I guess would be dead and buried by now. Or he is out there, sharing his experience with others about the disease that it kills.
Reader: One of the things I most appreciated about Dog Eat Dog was the depiction of localized customs and histories. For example, when Dingz says that dogs to him have always been instruments of police brutality, and then when he describes the various hand signals used to hail minibus-taxis. Did you make a conscious decision to put in these pieces of information?
Niq Mhlongo: Yes.Most of Dog Eat Dog is about the past, present, and future of South Africa. It is about the transition from the bitter past of apartheid when black lives were rendered cheap by the apartheid government. During this past, police dogs and guns were used as instruments of terror to kill innocent black lives. The hand signals used to hail minibus-taxi show the complexity of life in Soweto and Johannesburg. Soweto for instance is a huge place of between 2-3 million people, or more. This is a community with diverse cultures and backgrounds, and we were initially crammed together against our will. People were forced to develop a sub-culture in order to live side by side. Hand signals became a way of passing messages easily and fast.
Reader: A moment that stands out for me from the book is when Dingz, who skipped out on a final exam and went to great lengths to falsify the death of a family member in order to be granted a make-up exam, confronts a dean who is unwilling to grant him his wish because he has missed some deadlines. Dingz says, “Those rules, I think, must also take cognisance of the cultural diversity of this country. If they don’t, they only apply arbitrarily to some of us.” Of course, he is talking about the funeral arrangements of an invented dead cousin, but his critique of a university system built on beliefs that don’t necessarily apply to its students is sound. He is simultaneously wrong (for lying) and right (for calling out structural racism). Was it a challenge to write a character who occupies so many conflicting moralities at once?
Niq Mhlongo: Not necessarily difficult. Dog Eat Dog is about the survival of the fittest within the system that was created within the context of racism, cultural superiority, and hate. He is aware that the changes in 1994 were still cosmetic changes and still favored the white race, and were not structural. That is why he had to be clever and use the race card to survive because the system itself is immoral.
Reader: I also appreciated the striking conversations Dingz has with his friends. Especially when they’re discussing AIDS, I was reminded at how often friends dismiss information or input. You weave in social issues to the narrative so well. Dingz is “convinced that God was white” and he and his friends are “bad news…because we end up owing money at the end of each academic year.” When you’re working on dialogue, especially with a group of characters, where do you start?
Niq Mhlongo: Indeed, I think dialogue is the strength of Dog Eat Dog. There are so many subtly political, economic, and social commentaries that I was able to achieve through it. For example, the political debate about HIV/AIDS and the denial around that time; the debate that white people used the Bible, religion, and the fear of God to take the land from black people. You can also deduce subtly reference to racism, and the lack of transformation in the universities which you can link to the current affairs.
Reader: There’s also a distinction between ladies’ nicknames (abantwana, abocherry, abosweety) and guy’s nicknames (abajita, majimbos, amagents) that clearly alerts the reader to these relationships before a word is spoken. It’s vivid and impressive.
Niq Mhlongo: Soweto is also a trend-setter in South Africa with regard to its sub-culture. The language spoken here is different from other provinces. It is the language that everyone hears from TV and try to mimic.
Reader: You write in Dog Eat Dog, “I was convinced that God was white, and either English or Afrikaans, simply because it had taken Him so many years to get an interpreter to translate exactly what the blacks and the poor wanted in their endless prayers… It also seemed to me that English and Afrikaans are God’s languages.” And, of course, I read that in English. Would you talk about how you blend different languages into your work and what they mean to you as a writer?
Niq Mhlongo: I always try to write the way I speak in bastardized English: our own English language, and not the standard English. Most of the words in Dog Eat Dog are a direct translation from different languages such as tsotsitaal, Zulu, Afrikaans, Sotho and so on. In Soweto the idea of a mother tongue is blurred because this is a complex environment made up of different languages. I tried to reflect this in my book.
Final Reader Comment: I enjoyed reading Dog Eat Dog so much. Dingz felt like a younger brother—I was often yelling at him about his choices, but it was out of fondness. Even in the darker moments there’s an irrepressible joy and vibrancy to your writing that made it enjoyable to spend two hundred pages in your company.
Niq Mhlongo: Thank you. Dingz is like any teenager around your community. You have to understand that he is experiencing the challenges of growing and definitely needs guidance.
Win a signed copy of Dog Eat Dog.
Contest question: What modern movement does Niq Mhlongo say is similar to the challenges students faced in 1994?
How to Enter: Submit your answer by clicking here to comment on Traveling Marla’s Facebook Post, or email it to: email@example.com
Each person who submits the correct answer has an equal chance to win! DEADLINE: Sunday, 13 March, Midnight
Want to be a Featured Reader? Click here for more information!
I was happily surprised when a friend of mine just told me that she is planning to use our online book club in her class. I thought maybe she wanted to show her students the mind of an author at work, but she said her primary interest was in the questions themselves. She wants to show her writing students how to read as writers, and felt the questions coming in are exactly the way writers should be reading for the sake of their own craft.
She isn’t one of my featured readers, so I didn’t even realize she was reading along. But after the latest Q&A with Phillippa Yaa de Villiers, she asked me for permission to use the site as a reference, and to print out portions of the Q&A to accompany passages from the books.
I was stoked. One of the best things I learned from my own writing professors was how to read like a writer. Reading is still enjoyable, but I rarely read without paying attention to craft. And the questions coming in from many of the featured readers for our online book club show that other writers read the same way.
As I’m looking through these questions coming in for October author, Niq Mhlongo, I can tell which questions are coming from writers versus those coming from the average reader. All questions are valid, of course, but it’s so much fun to see what each writer has been observing in a text, and what they ask of the author.
So who are these wonderful featured readers asking the brilliant questions? Well please take a look at their bios on the Featured Readers page, by clicking here. These readers, most of them already well-established writers, teachers and editors, are excellent at reading critically, and it shows through in their own work. Please take a little time to read their bios, and click through to their websites and read some of their work as well!
Are you a Creative Writing Teacher?
If you’re also a teacher of creative writing and you also find the Q&A something you can use in teaching your writing students how to read more critically, you’re more than welcome to direct them to the site, or print the Q&A. Just please make sure you talk about these wonderful authors who created all the interesting books to prompt those questions!
And please, I’d love to hear about how you use the material, and maybe even take a photo of you and your class so I can share you with the world!
Following are the July, August, and September Q&A with authors. You can join the book club at any time, whether you’re a writer or just an avid reader, by picking up a copy of the latest book and reading along. Then submit your questions by the middle Wednesday of each month to: firstname.lastname@example.org
November: Mzilikazi wa Afrika Book(s): Nothing Left to Steal Read-by Date: 11 November 2015 PRE-ORDER ASAP by emailing email@example.com . This book is currently only available as an e-book in the states, but I can ship a paperback to you from South Africa.
Januarythrough May, 2016
Thando Mgqolozana: A Man Who is Not a Man
Mamle Wolo: The Kaya-Girl – Please email me to pre-order this book. It is not yet available in the states. I have purchased several copies for my readers.
Carol Campbell: Esther’s House
Ekow Duker: Dying in New York Wame Molefhe: Go Tell the Sun
Sabata-mpho Mokae: Kanakotsame: In My Times – Please email me to pre-order this book. It is not yet available in the states. I have purchased several signed copies for my readers.
Please read either Everyday Wife, or Taller Than Buildings, and submit your questions and comments by Wednesday, 16 September. I know my featured readers in the states are already either finished or in the process of reading. These are short books, so you could easily read both of them before mid-September, but at least please read one.
“Phillippa Yaa de Villiers illuminates relationships of many kinds and intensities – between lovers, children and parents, the politics of emotion shared and remembered and confronted, sustained across the distance of place or memory.” -Margaret Busby
The author will answer your questions!
Like each of the authors before her (Futhi Ntshingila and Nthikeng Mohlele), Phillippa Yaa de Villiers has agreed to reply to your questions and comments on this site.
(To see how the Q&A went for July and August, please click here and here.)
Remember every question and photo you send enters you for a chance to win a signed book from the author!
How to Participate:
Read about her work below, and get your hands on one or both of these books if you haven’t already. If you’re in the states, Taller Than Buildings is available as a Kindle ebook, and Everyday Wife is available in paperback at both Amazon and Barnes & Noble.
Please submit questions and/or photos by 16 September. For full details on our online book club, click here. If you or your book club would like to become Featured Readers, click here for details.
Submit by 16 September to firstname.lastname@example.org for a chance to win an autographed book from the author!
The Everyday Wife
The Everyday Wife won the 2011 South African Literary Award for a poetry collection
The everyday wife is a handy little book of practical poetry for any occasion. Mischievous and profound words recreate everyday life in South Africa and other parts of the world. In this, her second volume of poetry, Phillippa Yaa de Villiers unravels the security blanket of routines, exposing the soul of the quotidian.
“The poems in Taller than Buildings are stories about, and vignettes of life in and around South Africa. They’re crafted from sensitive observation and narrated with a verve, an energy that on reflection, renders the collection’s title particularly apt.” –Moira Richards, Rattle e-Review
Sample poem from Taller Than Buildings:
One day the Hillbrow Tower started to cry.
Real tears poured down its sides
collected in the gutters,
and ran down Banket Street,
the other buildings saw the tower’s sadness
they started to weep in sympathy.
Soon the whole city was sobbing,
the tears joined other tears
and filled the depressions and valleys.
They covered the koppies,
and collected in City Deep,
cascading over Gold Reef City
and soaking Soweto.
They flowed until they became a river
that carried us into the night,
where our dreams grew
taller than buildings
taller than buildings
Phillippa Yaa de Villiers is a multi-award-winning writer, performer and editor. After writing television scripts for ten years, she won a place on the British Council/ Crossing Borders programme and a grant from the Centre for the Book to publish her first volume of poetry Taller than Buildings (2006). Her poetry and prose are widely published in journals and anthologies. Her one-woman show, Original Skin, has toured in South Africa and went abroad in 2010. She has performed her poetry from Cuba to Cape Town, Berlin to Harare and of course in her home town, Jozi where she lives with an assortment of animals and her son.
-source: African Books Collective
*Please note: Due to transportation time to send books to the states, I needed to shuffle the order of the next few titles. Please begin reading one of Niq Mhlongo’s books for our October Book Club. Links to each of his books are below…
November: Mzilikazi wa Afrika Book(s): Nothing Left to Steal Read-by Date: 11 November 2015 PRE-ORDER ASAP by emailing email@example.com . This book is currently only available as an e-book, but I can ship a paperback to you from South Africa.
December:Mandla Langa Book(s): The Texture of Shadows
Read-by-Date: 16 December 2015 PRE-ORDER ASAP by emailing firstname.lastname@example.org . This book is currently only available as an e-book, but I can ship a paperback to you from South Africa.
I recently discovered a list of African literature I hadn’t previously known about. Have you ever heard of the Heinemann African Writers Series? Click on the name to link to the Wikipedia site with the full description. In short, I have a lot more reading to do. Thanks, Lungile Mtshiliba, for introducing me to this series!
I’m excited to get messages that you’re busy reading one or both of the August books by author Nthikeng Mohlele. Rusty Bell is his newest release, while Small Things is still receiving acclaim since its release in 2013. Please finish reading one or both of these by next Wednesday. They are not long reads, so you could probably knock out both over the weekend if you’re free.
Behind this story of love, music and the eternal quest, lies an artistic sensibility as generous as it is complex. The prose is rich in texture, the final effect melancholy and comic in equal proportions. – J.M. Coetzee, in praise for Small Things
Our first online book club reading went well! I’m really happy with the questions you submitted for July’s author, Futhi Ntshingila.
I put the names of all who submitted questions into a bag, and the winner of a signed copy of Do Not Go Gentle is Melanie Hooks, of Los Angeles, California, USA. Congratulations, Melanie!
“It made her reckless. But someone with nothing to lose has a chance to arm-wrestle with God, and maybe to win” (32).
-Do Not Go Gentle quote, favorited by featured reader Jessica Kinnison, who adds “Just a great image–the idea of looking god in the eye as a mortal and pushing back. “
Author Futhi Ntshingila carefully read and replied to each and every one, and I hope you enjoy her answers below. Remember to have the next book, Rusty Bell, read by mid-August and submit your questions in time for the author to reply! Each reader who submits questions will be entered in a drawing for a signed copy of that book.
Questions for Futhi Ntshingila
Q: The book has a strong oral storytelling feel to it for me especially because of the short chapter style, which I like and felt like it helped pull me through the story quickly. Do you feel there is a relationship between the oral tradition and this written one?
Yes it has. My name and my surname have a backstory like most Africans. I have always liked that. I am steeped in oral storytelling. There are in-jokes in the family that have been passed around since my grandmother’s days and if you tell them to a new person you get into the re-telling of the story. In Shameless, the story of brown sugar is straight from my cheeky grandmother’s experience speaking her truth to power. Hence my writing is somewhat a conversion from oral to written narrative. It is one of the best ways of preserving memory. I don’t preoccupy myself with this or that style of old dead guys to effectively create fiction. I get into the space of remembering and tell from my intestines, this way I can cry my eyes out if I have to. I get deeply engaged in the process.
Q: For such a story of tragic events, there was a strong theme of love and survival. Was it inspired by people you’ve known or events you’ve witnessed?
In the telling of the incommunicable experiences, it is very important to show that it is not all doom and gloom. It is important to show that poverty does not equate to lack of love. If anything the love that exists there is as authentic and strong and pure. I would dare to say that since is it not based on material possession it is more tangible and un-doubtable than the one linked to materials of the upper and middle class.
“They fell asleep on the carpet, spooning like children of the shacks who share a single bed” (83)
-Featured reader Jessica Kinnison highlighted this quote by Ntshingila in Do Not Go Gentle, adding “After all the education, the wealth, the travel, and high academic talk, they are stripped down and childlike–human. The image of Nonceba and Sipho”
Q: I was impressed by the female characters of power. A social worker at the beginning can take away the family benefits, and a female magistrate at the end can grant Mvelo peace. Was this a conscious choice or merely a reflection of current South African daily life?
I like this question because when I was writing I honestly didn’t give them these positions thinking of the power attached to it. I am from a family of four women, five including my mother. I had a father who made us feel like everything and everything was possible for us if we stick to education. So I guess my narrating reflects how I was nurtured to believe that I have no obstacles, poor as I was growing up. So nope it wasn’t a conscious choice or even a reflection of SA today. I sure hope for the young ones who read this book get influenced into thinking possibilities are not linked to gender.
Q: The novel’s plot jumps back and forth in time and follows a handful of characters who seem relatively unconnected at first, but it all comes together so wonderfully in the end.
How did you go about writing a plot like this? Did you write each character’s storyline chronologically and then rearrange scenes as needed, or did you write it in the order it appears in the novel? Or did you use another method?
Initially on Shameless, all my chapters of the past were in italics to indicate the change from actual time to reflection time. It followed the order it is in the novel just in italics. It was in the editing process that it changed. I know it can be a bit of a put-off but I felt it was the best way to show that Thandiwe had a life before prostitution and decisions were made that led her to this fast past Johannessburg. A part of me in all my story telling likes going back and forth and I tried not to make it linear because life for me is a circle. In Do Not Go Gentle, Zola dies but later on you get to hear who she was before her death.
Q: I’m only a few chapters into Do Not Go Gentle, so I’ll leave the more detailed questions to those who have read the whole time. I’m curious about the relationship between the books, and what it was like to write a second novel. Could you talk about what you learned from writing a first novel that you applied to writing a second?
In Shameless, I wrote mostly for myself fueled by anger in my observation of what was happening to black graduates when they enter corporations. It was around the time a letter of a black intern’s resignation from a company citing inequalities became viral and it resonated with so many of us. So I was fuelled by it and I didn’t even think I was going to publish my writing at first. I can tell you that it made me bolder. Do Not Go Gentle being the second book always comes with a little fear of readers because the innocence of what comes after the book is published is no longer there. But even with the second book I was fuelled by the need to tell for girls who cannot say “that uncle is raping me” at night and single mothers who are dying of diseases they never thought would reach them. The need was and always is bigger than the fear for little things like critiques and reviews.
“They molested the peace on the open ocean”
-A favorite Do Not Go Gentle quote by reader Jessica Kinnison, adding “Recalling Mvelo’s rape and crushing it. Just perfect.”
Q: How did you make the decision to use different narratives throughout the novel?
I think in parts where I feel strongly about something I find myself using first person, it’s where the lines of the narrator and authorial voice become blurred. I am not even sure if I am consciously doing it at the time of writing but when I re-read, I find that the parts that I feel most emotional about are the ones I have made first person.
Q: Were there other perspectives you considered but ended up not using?
Initially in Do No Go Gentle, Nomvelo narrated that whole story to Sipho the father-figure in her life. It worked for a bit until I realized that she would have to read minds of other characters which felt too contrived. So I dropped it and had to re-do it in a third person so that the narrator can hover and have the creative license to narrate inner thoughts.
Q: I like the way the stories blend the ideas of class, race, and pride. How much of this was accessible from your life and how much of it was fiction?
I think fiction is really a blend of what we observe around us, what we imagine and what we create to keep the plot moving. Class and Race are around me constantly I live a life that is in two classes: middle and moderate poverty. The middle class I am talking about is really a thin line held together by a monthly income that is thinly spread between myself and extended members of the family. One loss of that income could render me homeless for defaulting on my mortgage payments. This is a reality of a black middle class. It is not sustainable because as soon as you remove the monthly income, it falls flat. I have beloved family members who live in moderate to abject poverty.
Pride is in most hardworking families who do not believe in charity. This was drummed into my head as a young girl. It was consider crass and vulgar to ask for money from any adult person. I had one too many hidings from breaking this rule.
Comment from Featured Reader, Katrina Otuonye:
I found the views on where Mvelo should go to school incredibly fascinating. I’m sure that could lead into a much longer conversation on the expectations we set up for children, and how even when we try to help them, we may end up hindering them by our best efforts.
Reply from Futhi Ntshingila:
This is true. I see it with mothers who are domestic workers whose bosses offer to pay for better education of their children in these upper class schools. While the kid may get a good education, the trauma of shame is huge. The shame is linked to while your classmate’s mothers are doctors, yours is a maid. The boy who is interested in you lives in a palatial home while you go home in a shack at night. And this also leads to conflicts in the family where a child if not properly raised can become superior to her parents who have little or no education. I have seen it all in various levels. It is traumatic to witness.
Q: Shameless is about a lot of things—prostitution, Apartheid, self determination—but the overwhelming theme I saw was the complexity and depth of relationships between women. How did you approach the challenge of writing these friendships and sisterhoods between such different characters?
Some of it was drawn from my own young friendships and my sisters. My household was heavy on estrogen with my father being the only man in the house. It feels unprocessed and natural to me to write about women in this way. In a way I think I would have to dig really deep if I were to have dominant male characters in any fiction I would create in future.
Q: How did your work as a journalist influence how you write and what you choose to write about?
Yes, it did in both the books. They are both stories I really couldn’t tell in the 500 word space that you get given in a newspaper. I think unconsciously as I write I ask myself it is worth telling as I used to do when I would pitch news stories in the news conference of newsrooms. I also think hard about the hook, angle and such things of journalism.
Q: One of the images that sticks with me most strongly from Shameless is Thandiwe gathering cow dung and polishing her floor with it when she’s a child.
This is, as Kwena later reflects, a sign of how desperately poor Thandiwe’s family was, but when it’s recounted it’s a peaceful, dream-like memory. It’s a moment that humanizes extreme poverty and places the narrative firmly in Thandiwe’s control, as she would want it. Would you talk about the balance in your writing between the horrific events of this book and these glimpses of joy and beauty?
I grew up in a semi-rural location where our floors were polished by cow dung. In winter I loved scooping warm dung as soon as the cows finished doing their business. I am glad it comes across as peaceful because I was recalling those days of my own youth. I didn’t really associate cow dung with poo. It also helps that it smells like grass. Most black women my age who grew up in the rural or semi-rural areas know about dung collection and polishing the floors with it. Half the time we were not wallowing in self-pity or that conscious of our poverty. It was just life as it was until later on when we realized that while we were doing these things our white counterparts were going to the coast for holidays and worried about which bikini to wear.
Q: This book is narrated by Zonke and Kwena, though it’s almost entirely about Thandiwe. The only time we actually hear Thandiwe telling her own story is through dialogue when she’s on camera for Kwena. What made you choose to portray Thandiwe primarily through other women’s voices? She’s such a self-possessed and independent character that I found it a really interesting perspective to hear her perspective through the experiences of others.
I think that if I made her tell it, she would not be aware of how of beautiful she was, how independent she was and how much she had had to deal with. Those who observe have the advantage of being outside her head and are able to tell more effectively about her life. .
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Thank you to author Futhi Ntshingila, for her time in responding to these thoughtful, engaging questions, and thank you to each of you who read and gave questions for this online book club. I am really excited to read what questions you have for our next author, Nthikeng Mohlele. If you haven’t picked up a copy of Rusty Bellyet, I did see there are still some in stock at Amazon. Details on this and other upcoming books below.
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August: Nthikeng Mohlele Book(s):Rusty Bell Read-by Date: 12 August 2015 Please read and email your questions no later than 12 August to email@example.com.
September: Phillippa Yaa de Villiers Book(s): Everyday Wife, and/or Taller Than Buildings Read-by Date: 16 September 2015Please read and email your questions no later than 16 September to firstname.lastname@example.org
October: Mzilikazi wa Afrika Book(s): Nothing Left to Steal Read-by Date: 14 October 2015 PRE-ORDER ASAP by emailing email@example.com . This book is currently only available as an e-book, but I can ship a paperback to you from South Africa.
November:Mandla Langa Book(s): The Texture of Shadows(paper edition ships from SA. Order ASAP via MarLa)
Read-by-Date: 11 November 2015
December: Niq Mhlongo Book(s): Way Back Home Read-by-Date: 16 December 2015
Januarythrough May, 2016
Thando Mgqolozana: A Man Who is Not a Man
Mamle Wolo: The Kaya-Girl (pre-order through Traveling MarLa)
Carol Campbell: Esther’s House
Ekow Duker: Dying in New York Wame Molefhe: Go Tell the Sun
Sabata-mpho Mokae: Book launch this autumn, and he’s taking time for us online as well! Title to be announced in August.
You guys are the best. I have been getting your questions and comments for our first author, Futhi Ntshingila, and I am really proud to send them to her. You guys really read and think like pros!
If you haven’t submitted your questions, you can still get them to me by midnight tonight. I’m sending everything to her at one time, tomorrow morning, so she can take a week to give you equally thoughtful replies. And next week, when the questions and answers are posted, I’ll also announce the winner of a signed copy of her book!! Continue reading What Would You Say to an Author?