Living in Hope and History (5 page)

Finally, at home in Africa, in the countries of our continent, let Rosa Luxemburg's definition be at the tip of our ballpoint pens and on the screens of our word-processors as we write: ‘Freedom means freedom to those who think differently.' Let the writer's status be recognized as both praise singer and social critic. Let's say with Amu Djoleto:

What you expect me to sing, I will not
,

What you do not expect me to croak, I will
.

—2nd PAWA Annual Lecture, Pan African Writers Association
5th International African Writers' Day Celebration
Accra, Ghana, 1–7 November 1997

 

 

 

 

W
riters in Africa in the twentieth century, now coming to an end, have interpreted the greatest events on our continent since the abolition of slavery.

We have known that our task was to bring to our people's consciousness and that of the world the true dimensions of racism and colonialism beyond those that can be reached by the newspaper column and screen image, however valuable these may be. We have sought the fingerprint of flesh on history.

The odds against developing as a writer able to take on this huge responsibility have been great for most of our writers. But as Agostinho Neto, Angolan poet and president, said, and proved in his own life: ‘If writing is one of the conditions of your being alive, you create that condition.'

Out of adversity, out of oppression, in spite of everything . . .

Looking forward into the twenty-first century, I think we have the right to assess what we have come through. Being here; the particular time and place that has been twentieth-century Africa. This has been a position with particular implications for literature; we have lived and worked through fearful epochs. Inevitably, the characteristic of African literature during the struggle against colonialism and, latterly, neocolonialism and corruption in post-colonial societies, has been engagement—political engagement.

Now, unfortunately, many people see this concept of engagement as a limited category closed to the range of life reflected in literature; it is regarded as some sort of upmarket version of propaganda. Engagement is not understood for what it really has been, in the hands of honest and talented writers: the writer's exploration of the particular meaning his or her being has taken on in this time and place. For real ‘engagement', for the writer, isn't something set apart from the range of the creative imagination. It isn't something dictated by brothers and sisters in the cause he or she shares with them. It comes from within the writer, his or her creative destiny, living in history. ‘Engagement' doesn't preclude the beauty of language, the complexity of human emotions; on the contrary, such literature must be able to use all these in order to be truly engaged with life, where the overwhelming factor in that life is political struggle.

While living and writing under these conditions in Africa, we have seen our books banned—and we have gone on writing. Many of our writers, including Wole Soyinka, have been imprisoned, and many, including Chinua Achebe, Dennis Brutus, Nuruddin Farah, have been forced to choose exile. I think of immensely talented Can Themba, Alex La Guma, and Dambudzo Marechera, who died there; lost to us.

 

•      •      •

What do we in Africa hope to achieve, as writers, in the new century? Because we are writers, can we expect to realize literally, through our work, that symbol of change, the turning to a fresh page?

What are the conditions under which we may expect to write—ideological, material, social?

It seems to me that these are the two basic questions for the future of African literature. I think it's generally agreed that consonance with the needs of the people is the imperative for the future in our view of our literature. This is the point of departure from the past; there, literature played the immeasurably valuable part of articulating the people's political struggle, but I do not believe it can be said to have enriched their lives with a literary culture. And I take it that our premise, in Africa, is that a literary culture is a people's right.

We all make the approach from our experience in the twentieth century. We all hazard predictions, since we do not know in what circumstances our ambitions for a developing literature will need to be carried out. We have our ideas and convictions of how literary development should be consonant with the needs of our people; we cannot know with what manner of political and social orders we shall have to seek that consonance.

I think we have to be completely open-eyed about the relation between our two basic questions. We have to recognize that the first—what we hope to achieve in terms of literary directions—is heavily dependent on the second: the conditions under which we shall be working as writers. A literary culture cannot be created by writers without readers. There are no
readers without adequate education. It's as simple—and dire—as that. No matter how much we encourage writers who are able to fulfill, according to their talents, the various kinds and levels of writing that will take literature out of the forbidding context of unattainable intellectualism, we shall never succeed until there is a wide readership competent beyond school-primer and comic-book level. And where there are readers there must be libraries where the new literature we hope to nurture, satisfying the need of identification with people's own daily lives, and the general literature that brings the great mind-opening works of the world to them, are easily available to them.

Will these potential readers find prose, poetry, and nonfiction in their mother tongues?

If we are to create a twenty-first-century African literature, how is this to be done while publishing in African languages remains mainly confined to works prescribed for study, market-stall booklets, religious tracts? We have long accepted that Africa cannot, and so far as her people are concerned, has no desire to, create a ‘pure' culture in linguistic terms; this is an anachronism when for purposes of material development the continent eagerly seeks means of technological development from all over the world.

We all know that there is no such workable system as a purely indigenous economy once everyone wants computers and movie cassettes.

Neither, in a future of increasing intercontinental contact, can there be a ‘pure' indigenous culture. We see, a plain fact all over Africa, that the European languages that came with colonial conquest have been taken over into independence,
acquired
by Africans and made part and parcel of their own convenience and culture. The brilliant examples of this acquisition are there
to be read in the work of some black African writers. (Whites, of course, have never had the good sense to do the same with African languages . . . )

But we writers cannot speak of taking up the challenge of a new century for African literature unless writing in African languages becomes the major component of the continent's literature. Without this, one cannot speak of an African literature. It must be the basis of the cultural cross-currents that will both buffet and stimulate that literature.

What of publishing?

We write the books; to come alive, they have to be read. To be available, they have to be competently distributed, not only in terms of libraries, but also commercially. Many of us in Africa have had experience of trying to meet the needs of the culturally marginalised by launching small, non-profit publishing ventures in African literature. We find ourselves stopped short by the fact that the distribution network, certainly in the southern African countries (I don't imagine there is much difference in countries to the north), remains the same old colonial one. Less than a handful of distribution networks make decisions, based on the lowest common denominator of literary value, on what books should be bought from publishers, and this handful has the only means of distributing these widely to the public, since they own the chain bookstores which dominate the trade in the cities and are the only existing bookstores in most small towns. In South Africa, for example, in the twentieth century, there have been and are virtually
no
bookstores in the vast areas where blacks have been confined under apartheid.

Another vital question: What will be the various African states' official attitude to culture, and to literature as an expression of that culture? We writers don't know, and have
every reason to be uneasy. Certainly, in the twentieth century of political struggle, state money has gone into guns, not books; literature, culture, has been relegated to the dispensable category. As for literacy, so long as people can read state decrees and the graffiti that defy them, that has been regarded as sufficient proficiency. As writers, do we envisage, for example, a dispensation from a Ministry of Culture in South Africa to fund publishing in African languages, and to provide libraries in rural communities and in the shanty towns which no doubt will be with us, still, for a long time? Would we have to fear that, in return for subvention, writers might be restricted by censorship of one kind or another? How can we ensure that our implicit role—supplying a critique of society for the greater understanding and enrichment of life there—will be respected?

Considering all these factors that stand against the writer's act of transforming literature in response to a new era, it seems that we writers have, however reluctantly, to take on contingent responsibilities that should not be ours. We'll have to concern ourselves with the quality and direction of education—will our schools turn out drones or thinkers? How shall we press for a new policy and structure of publishing and distribution, so that writers may write in African languages and bring pleasure and fulfillment to thousands who are cut off from literature by lack of knowledge of European languages? How shall we make the function of writers, whose hand held out to contribute to development is in the books they offer, something recognized and given its value by the governing powers of the twenty-first century? We have to begin now to concern ourselves with the structures of society that contain culture, and within which it must assert its growth.

And there is yet one more problem to be faced by the naked power of the word, which is all we have, but which has proved itself unkillable by even the most horrible of conventional and unconventional weaponry. Looking back, many well-known factors inhibited the growth of a modern African culture, an African literature, in the century whose sands are running out through our fingers. One hardly need cite the contemptuous dismissal of all African culture by frontier and colonial domination; the cementing-over of African music, dance, myth, philosophy, religious beliefs, and secular rituals: the very stuff on which the literary imagination feeds. The creativity of Africa lay ignored beneath the treading feet of white people on their way to see the latest Hollywood gangster movie or to pick up from the corner store a comic with bubble text in American. And soon, soon, these were joined by black people in the same pursuit, having been convinced, since everything that was their own was said to be worthless, that this was the culture to acquire. The habit of chewing cultural pulp is by now deeply established among our people. And it is so temptingly cheap to be bought from abroad by our media, including the dominant cultural medium of our time, television, that literature in Africa not only has to express the lives of the people but also has to assert the beauty and interest of this reality against megasubculture—the new opium of the people . . .

Surely the powers of the imagination of our writers can be exerted to attract our people away from the soporific sitcom, surely the great adventures that writers explore in life can offer a child something as exciting in image and word as the cumbersome battle between Japanese turtles? We in Africa don't want cultural freedom hijacked by the rush of international sub-literature into the space for growth hard-won by ourselves
in the defeat of colonial culture. That is perhaps the greatest hazard facing us as we turn the page of African literature and write the heading: twenty-first century.

—
UNESCO Symposium
Harare, Zimbabwe, 1992