Cameroonian novelist, Musih Tedji Xaviere, says her debut novel, These Letters End in Tears, was inspired by the resilience of queer love: ‘The treatment of queer people in Cameroon is appalling, but what I find inspiring is that people still find love even in the hardest circumstances. They refuse to be stripped of their ability to love, no matter the challenges.’
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 was not really exposed to books, because no one around me was into literature. My mum was a nurse, and my dad was a police officer, both retired now. I only encountered literature when I went to boarding school at age eleven. The first book I ever read was Oliver Twist by Charles Dickens, which was part of the school curriculum, like most books I read at that age: books by Oscar Wilde, Chinua Achebe, Mark Twain and others. At 16, I discovered romance novels through a friend who smuggled her aunt’s romance novels into the dorms. Since then, I have read all kinds of books, across all genres.
If your life so far was a series of texts, which text (fiction or non-fiction) represents you at this moment?
At this moment, my life feels like Things Fall Apart by Chinua Achebe—not in the sense of tragedy, but in the way old structures are breaking down, forcing me to adapt and rebuild. I am in a phase of overcoming challenges, letting go of things that no longer serve me, and stepping into something new. Like Okonkwo, I sometimes resist change, but I have come to see that growth requires it. Right now, I am navigating uncertainty but also shaping a future that reflects who I am becoming.
What’s the last thing you read and disagreed with?
The last thing I disagreed with was not something I read, but a conversation I overheard. Someone said that more evil things are happening in the world today than ever before. I don’t think that is true. I believe the world has always been this way—the only difference is that now we have cameras everywhere, capturing things that used to go unnoticed or unreported. The darkness has always existed but so has the light. We are just more aware of it now.
That is something I think about a lot when I write. I am always drawn to stories that reveal both the beauty and the struggles of life, because they have always coexisted. Even in the hardest times, people still find love, still hold on to hope, still fight for something better. That balance between darkness and light is what makes stories feel real to me.
At this moment, my life feels like Things Fall Apart by Chinua Achebe—not in the sense of tragedy, but in the way old structures are breaking down, forcing me to adapt and rebuild.
What’s the last thing you read that changed your mind about something?
It is not one particular book, but the books I have been reading lately. Most of them are about unrests and struggles in different parts of the world. I used to be very quick to judge how people react to certain situations, but after reading more about what is really going on, I have learned to be more understanding and empathetic. The more I learn, the more I realize there is still so much I don’t know, and that has changed how I see things.
What is your writing process: edit as you write or draft first, then edit?
I write and edit at the same time. I know some writers prefer to get the full draft down before making changes, but for me, the story doesn’t feel right unless I refine as I go. It is a slow process, but it helps me stay connected to the emotions and flow of the narrative. By the time I reach the end, the book already feels polished in many ways, though I still go back to fine-tune it.
What was your process for writing your debut novel, These Letters End in Tears?
My process for writing These Letters End in Tears was not structured at all; I wrote whenever the story demanded to be told. I did not start with a strict outline; instead, I let the characters lead me, discovering their voices as I wrote. Some days, the words flowed effortlessly, and other days, I struggled to get a sentence down. But through it all, I knew this was a story I had to tell. I did not rush it. I allowed myself to sit with the emotions, to fully explore the love, the heartbreak, and the hope.
These Letters End in Tears is a heart-wrenching forbidden love story of a Christian girl with a rebellious heart and a Muslim girl leading a double life. What inspired this story?
The treatment of queer people in Cameroon is appalling, but what I find inspiring is that people still find love even in the hardest circumstances. They refuse to be stripped of their ability to love, no matter the challenges. I am a huge romantic, and I believe in love so powerful it can overcome anything. These Letters End in Tears was my way of showing that even in the darkest times, there is light; that beautiful things can grow in places where they are not expected to. Love, in all its forms, is resilience.
Which book or author had the most influence on your approach to writing it?
Honestly, no specific writer influenced These Letters End in Tears. I did not set out to model it after anyone’s work. I just wrote the kind of story I wanted to read. Of course, I have read and admired many authors over the years, but when it came to this book, I let the story shape itself naturally, without trying to fit into any particular style or tradition.
I am always drawn to stories that reveal both the beauty and the struggles of life, because they have always coexisted. Even in the hardest times, people still find love, still hold on to hope, still fight for something better.
What’s one thing about readers’ reactions to These Letters End in Tears that surprised you?
These Letters End in Tears has received—and continues to receive—so much love from around the world. I never expected any of that, and the overall acceptance of the book has been the most surprising part for me. Seeing readers connect with it on such an emotional level, across different backgrounds and cultures, has been both humbling and surreal. It reminds me that storytelling is universal—once a book is out in the world, it no longer belongs to just the writer, but to everyone who finds a piece of themselves in it.
What is the most meaningful piece of writing advice you’ve ever received?
Stop focusing too much on what you think readers want to read. Write what you want to read. That advice changed everything for me. It reminded me that the most powerful stories come from a place of passion and authenticity. When you write for yourself first, the right readers will find your work.
And what’s the first book you read that made you think you wanted to be a writer?
The first book that made me think I wanted to be a writer was Oliver Twist by Charles Dickens. I read it at age eleven, and it was the first time I truly got lost in a story. The way Dickens brought characters to life and made me feel their struggles and triumphs stayed with me. That was when I realized the power of storytelling: to make people feel, to transport them into another world.
What book (from Africa) do you feel has not yet received the attention it deserves?
One book from Africa that I feel has not received the attention it deserves is The White Man of God by Kenjo Jumbam. It is a deeply insightful novel about the clash between African traditions and Christianity, told through the perspective of a young boy in Cameroon. The way it explores faith, identity, and colonial influence is powerful, yet it is not as widely known as other African classics. I think more readers should discover and appreciate its brilliance.
Which three books from/on Cameroon should everyone be reading at this moment?
Behold the Dreamers by Imbolo Mbue, The Whiteman of God by Kenjo Jumbam, and Houseboy by Ferdinand Oyono.
Storytelling is universal—once a book is out in the world, it no longer belongs to just the writer, but to everyone who finds a piece of themselves in it.
Who are the Cameroonian authors you’re most excited about today (and why?)
Imbolo Mbue is one writer I truly admire—her storytelling is raw, compelling, and deeply human. Nsah Mala, Howard Meh Bu, and Hemley Boum are also adding to the country’s literary space, each bringing their own unique voice and perspective. While I may connect with some writers’ works more than others, I believe every storyteller contributes to the richness of Cameroonian literature. I hope to see even more writers emerge and take up space in the future.
And what’s one thing readers should be aware of when reading about Cameroon?
One thing readers should know about Cameroon is that it is very diverse. There isn’t just one culture, one language, or one way of life. Different ethnic groups, traditions, and histories shape the country, making every story unique. There is a mix of old and new—traditional beliefs and modern life, local languages and colonial influences. So, when reading about Cameroon, it is good to remember that no single story can show everything about the country.
What’s the best book you’ve read about mother-daughter relationships?
An Unusual Grief by Yewande Omotoso. It is a beautifully written and deeply introspective story about loss, identity, and the complex, often unspoken bond between a mother and daughter. The way it explores grief and self-discovery through that relationship is both haunting and tender—one of the best I have read on the subject.
What’s the last great book someone recommended to you?
Ghost Season by Fatin Abbas.
What’s a book on your bookshelf that might catch people by surprise?
If you know me, then you would not be surprised by any book you catch on my shelf, because I read everything under the sun. It just depends on my mood. One day it is a classic, the next it’s a steamy romance, then a deep philosophical text or a horror novel. My bookshelf is as unpredictable as my reading habits.
What is your favourite topic to write or read about these days?
Lately, I have been drawn to stories that are eerie, psychological, and unsettling—the kind that linger in your mind long after you have finished reading. There is something fascinating about exploring obsession, hidden fears, and the blurred lines between reality and delusion. But at the heart of it, there is also romance—intense, all-consuming, and maybe even dangerous. I will not say much about what I am working on, but let’s just say it taps into those themes in a way that keeps even me on edge.
The most powerful stories come from a place of passion and authenticity. When you write for yourself first, the right readers will find your work.
What are you currently working on?
I am currently working on a new novel, but I don’t like talking about what I’m working on. I prefer to get it out of my system first, free from outside influence, and let the story take shape on its own. Once it’s out, then I listen—to hear what people think, how they connect with it, and how I can make it better. For now, I am in that quiet phase, creating something new, letting it breathe before sharing it with the world.
Question from Dennis Mugaa: What story or novel do you wish you had written differently?
These Letters End in Tears is my debut, and right now, I like the book as it is. I would not change a thing about it. Maybe my perception will shift with time—as I grow as a writer, I might see things differently—but for now, I am proud of how I wrote the story. It reflects exactly what I wanted to say in that moment, and that is what matters to me.
Bonus: Please suggest a question for a future author’s First Draft
Do you think fiction writers have a way of seeing the future? So many things we write seem to come to pass, and even though we have not lived in the past, we have an uncanny ability to write as if we were there. Do you ever feel like storytelling is a form of time travel?
I think it would be interesting to hear how other writers view this. Whether a subconscious intuition, deep observation of human nature, or something else entirely, fiction has a strange way of predicting and preserving reality.
Who should we interview next?
Sue Nyathi would be a great choice. She has a way of capturing complex human experiences with depth and honesty. Books like The Polygamist, The Gold Diggers, and A Family Affair explore themes of ambition, survival, and family dynamics in a way that resonates deeply. I would love to hear her insights on storytelling, character development, and the themes she chooses to tackle in her work⎈
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