Liberian novelist and author of She Would Be King, Wayétu Moore, wants Africans to tell their own stories: ‘A recent book I read portrayed Africa as a uniform experience—overly simplified and stripped of nuance. It reminded me of why it is so important for Africans to tell our own stories, showing the plurality of our voices, our struggles, and our triumphs.’
First Draft is our interview column, featuring authors and other prominent figures on books, reading, and writing.
Our questions are italicized.
What books or kinds of books did you read growing up?
Growing up, I read books that inspired a sense of wonder. I read African folktales and stories my parents told us—they were magical, full of mysticism and wisdom. I also loved the fantasy of it all, the possibilities in imagining whole new worlds intrigued me. I read J. R. R. Tolkien’s The Hobbit and other fantasy novels that inspired my interest in world building before I was a teenager. Later, I fell in love with books by Toni Morrison and other writers who saw beauty in complexity, allowing history and magic to coexist.
What’s the last thing you read that changed your mind about something?
I recently reread Chinua Achebe’s There Was a Country, and it reframed my understanding of how we carry grief as a part of our contributions to history.
What is the last book/text you disagreed with, and why?
I won’t name it, but a recent book I read portrayed Africa as a uniform experience—overly simplified and stripped of nuance. It reminded me of why it is so important for Africans to tell our own stories, showing the plurality of our voices, our struggles, and our triumphs.
I recently reread Chinua Achebe’s There Was a Country, and it reframed my understanding of how we carry grief as a part of our contributions to history.
Your debut novel, She Would Be King, was named a best book of 2018 by Publishers Weekly, Booklist & Entertainment Weekly. What was your process for writing this book?
I immersed myself in Liberia’s history by speaking with the oldest Liberians in my family and other Liberian elders to create something that felt honest. I did a lot of research on the history of the American Colonization Society, rebellions in the colonial era and pre-colonial West Africa. I tried to balance research with imagination. My process was to trust the story; however, it wanted to open itself to me.
She Would Be King is set in Liberia’s history and is a work of magical realism, featuring protagonists with superhuman abilities. What inspired this story?
Liberia’s history is profound and deeply layered—it is the story of beginnings, resistance, and redefinition. Storytelling shapes how we understand history, and magical realism felt like the closest way to honour how Liberians interpret reality through myth and oral tradition.
How did your approach to writing change while working on your memoir, The Dragons, The Giant, The Women?
Writing the memoir required me to strip everything down to vulnerability. Unlike fiction, this was not a place I could hide. It was raw. Every sentence was me confronting my fears, my childhood trauma, and eventually, my healing.
And what’s one thing about the reactions to the book that surprised you?
I was surprised by how many readers found themselves in my story—the immigrant navigating identity or the person trying to reconcile the scars of history with the possibility of home. It reminded me that our individual stories are always bigger than just us.
What’s the first book you read that made you think you wanted to be a writer?
Black Boy by Richard Wright.
Storytelling shapes how we understand history, and magical realism felt like the closest way to honour how Liberians interpret reality through myth and oral tradition.
Who is the most compelling character you’ve ever encountered in a book, and what makes them memorable?
Sula Peace from Sula by Toni Morrison. She reminds me of the beautiful contradictions of what it means to be human.
Which three books from/on Liberia should everyone be reading at this moment?
Read Patricia Jabbeh Wesley’s poetry, Vamba Sherif’s Bound to Secrecy, and of course, Helene Cooper’s The House at Sugar Beach. Each of them offers a unique lens into Liberia’s many layers.
And who are the Liberian authors you’re most excited about today (and why)?
Hawa Jande Golakai, for her ability to write mysteries that explore Liberia in unexpected ways, and Vamba Sherif, who paints Liberia’s identity masterfully.
What’s one thing readers should be aware of when reading about Liberia?
Liberia’s story is not a straight line—it is nuanced and full of intersections.
What’s one book you would recommend gifting a loved one to start the new year, and why?
I would recommend Unmasking AI by Dr. Joy Buolamwini. It is an exploration of how artificial intelligence intersects with racism, and the biases that exist in technology.
What’s one word, line or quote that captures how last year went for you?
Resilience.
What was the best book (by an African author) you read last year?
Tsitsi Dangarembga’s This Mournable Body.
What is your favourite topic to write or read about these days?
Power—particularly how women’s power emerges in moments when the world tells them to stay invisible.
Writing the memoir required me to strip everything down to vulnerability. Unlike fiction, this was not a place I could hide. It was raw.
What are you currently working on?
My next novel (working title ‘Melanctha’) explores the mythology of Mami Wata.
Question from Othuke Ominiabohs: Why should anyone care about your current work in progress?
I gave myself permission to write a Black villainess.
Bonus: Please suggest a question for a future author’s First Draft.
What story has haunted you for years, and how have you carried it?
Who do you think we should interview next?
Interview Hawa Jande Golakai—her work sits at the intersection of mystery, history, and identity in such an incredible way⎈
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