‘African prose is more versatile than we think’
No genre of literature has been more dominated by men than crime fiction. So why crime fiction for you?Perhaps to flout convention; I’m short, we all have a complex! Seriously though, I’m insatiably curious and adventurous and crime reflects that nature to a ‘T’. Since childhood, I’ve been kind of obsessed with it all: the […]
No genre of literature has been more dominated by men than crime fiction. So why crime fiction for you?
Perhaps to flout convention; I’m short, we all have a complex! Seriously though, I’m insatiably curious and adventurous and crime reflects that nature to a ‘T’. Since childhood, I’ve been kind of obsessed with it all: the gruesome, the death of things, society’s underbelly, that seedy streak in us all regardless of nurture, genes or gender. There’s a science to how pervasive yet unique the criminal act is to the human species and I’m a scientist, so cruising on the dark side is a no-brainer. As to the disparity, in some ways the whole ‘gender conversation’ is becoming a giant snore – it’s quite an arbitrary construct and doesn’t constrain me or direct my choices. There’s a wealth of great female krimis on the market nowadays. A good story is a good story, regardless of who conceived it.
True indeed. Your first novel, The Lazarus Effect, has been nominated for three prominent awards, how important are those nominations for you, especially considering the genre in which you write?
Incredibly vital, thrilling and much appreciated! It’s so offside that with crime rising everywhere, this genre doesn’t have more clout – it’s like people are in denial about facing hard truths. The tide is turning with African crime [fiction]’s growing popularity. But I must admit it’s been slow going. I’m not known for my patience, haha! Those nods weren’t so much a feather in my cap as a widening of the platform for others. I’m a raging advocate of broadening the fiction realm outside of literary works, the ‘favourite child’ of African prose, and frankly we can’t afford to bottleneck. We’re so much more versatile than that. Anytime a crime writer makes moves and gets noticed for it, I’m on my feet applauding. We need an African Crime Award.
And with your listing in the Africa39, it seems you are bringing crime fiction to the mainstream, was this something you hoped for when you set out to write crime fiction?
Absolutely! In my writing I’m intense and focussed, studying what came before me and thinking in overarching ways about the future. I’m a free-spirited being usually but passionate in all I do, be it a popular choice or not (and I rarely make popular choices). It didn’t take any deliberation to pick crime as my poison, despite its smaller following. But it deserves to command the respect here as it does overseas, and I’m working all fingers to the bone to achieve that. Kudos to the Africa39 judging panel for recognising two highly under-represented groups in fiction- crime writers and Liberians.
Indeed, those are two under- represented groups. And this leads me to the next question. Your protagonist, Vee Johnson and yourself share similar backgrounds. You are both Liberians obviously, you have both travelled a lot, as both refugees and immigrants, and you are both based in South Africa now, where does Hawa Golakai stop and Vee Johnson begin?
Damn, this is a popular question! It must be natural for readers to look for parallels. Firstly, I’m no longer based in South Africa as of a few years ago, I live in Monrovia. Voinjama gave birth to herself when I was about 19; spontaneously she popped up in my mind, demanded I find work for her and never left, while I tend to spend time crafting other characters that I can ditch. She’s a huge, embedded part of my ego because of how she rose above the background chatter, and in my noisy brain there’s a lot. As to similarities – let’s just say in many of our devices and desires we’re near identical, in others we’re polar opposites, and that’s about all I’ll give away! She certainly has the kind of exhilarating, somewhat dangerous job I’ve always wanted.
Most of Africa doesn’t have a history and culture of committed detectives who diligently investigate crimes no matter how long it takes or what the stakes are, how do you make your African readers relate to this characters operating in their backyard?
I love to build a familiar backdrop but yank readers out of comfort zones with the nature of the dastardly deeds. Paradoxically that’s what people relate to, the idea that right under their tranquillity, an evil is underway; we’ve all been through that experience. Crime is also especially technical on the tying of loose ends and I enjoy the research – interviewing real petty criminals and the police, performing autopsies whenever I can, all to add grit and dimension. More than anything I’ve discovered there are more good guys fighting the good fight than we realise, but corrupted systems thwart their efforts, so I also show that. To quote Sherlock Holmes: “Crime is common. Logic is rare.” The beauty of the thing is in the solving.
Do you feel the popularity of American crime fiction and the fact that they are cheap in second hand bookshops is a threat to the few Africans trying their hands at crime fiction?
I do, somewhat, but not to the extent most people assume I should feel it. Obviously the Western market dwarfs ours by comparison, so we can decide to cower to the ‘threat’ or exercise our trademark ingenuity to compete better. Crime specifically is in a fledgling state, the handful of us in it are still navigating the market, drumming up interest and mentoring new writers. It’s not the time to frighten ourselves off before we take off properly. We need to have balls of steel. It’s a threat to leave your house every day but if you stay home, your roof can still fall on you. Do something or shut up, but never whine.
Very assertive there and very true. From your Africa39 submission, we see that there is a second Vee Johnson story coming. Did you plan on writing a series of detective novels featuring the same character when you set out?
That was the idea from the get-go. A homegrown mystery series – featuring the first black female Liberian investigator from the mind of the only Liberian crime author, one of only two black African women writing crime. A mouthful I know, and mammoth undertaking! Voinjama herself is an interesting story arc, one with longevity. On the other hand I do write stuff with other strong non-Vee characters, and once she stops being a diva and hogging my time, I’ll complete them. It’s in the works. Nowadays I’m a much better multi-tasker.
Why do you think crime fiction is important and what do you see as its future in Africa?
Deny it some may, but crime is the poster child for African writing. This fusion fiction has the gore of horror, the lyricism of the literary, the softness of romance, the science and surreal of sci-fi and the thrill of, well, thrillers. It’s the finest mirror to hold up to society, the best commentator, because it chronicles how we go dark, how we fall apart, not just the mundane one-dimensional successes we publicly applaud. Crime asks “who are you when you’re not pretending?” and that’s the kind of woman and writer I am. As to the future – this genre is going places, going everywhere. I’ve made it my business to see to it.