Critic and author of ‘Achebe’s Women’, Elizabeth Ben-Iheanacho, wishes more authors appreciated the productive purpose of criticism: ‘Criticism helps us grow. It opens up new dimensions and hidden meanings that we may not have been aware of in the course of writing.’
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 by women did you read growing up?
Growing up, I read voraciously without paying particular attention to the genders of authors—my gender consciousness came later in life. However, Jane Austen was a staple author as was Enid Blyton. As a child, I read every possible thing that was to be found in my father’s very extensive library ranging from the African Writers Series to paranormal series such as Maria Corelli’s Vendetta. I read thrillers from James Hadley Chase, Nick Carter, Sidney Sheldon and every teenager’s romantic genre by Mills and Boons, Barbara Cartland and the queen of them all, Denise Robins. My dad invested heavily in my reading passion, which he indulged outrageously by buying me books and more books, while my mom indulged my ‘lazy’ escape from household chores.
What book would you say introduced you to reading from a feminist lens?
As an undergraduate, I was exposed to different ideologies behind books. One effect of this was that I re-read a lot of books and had second and third impressions of them. However, Buchi Emecheta’s Double Yoke was a favourite feminist treatise.
Why do you think Buchi Emecheta’s works resonate with so many readers?
Buchi Emecheta’s books are easy to read, thematically accessible and her stories are homegrown. The struggles of her female characters speak to a lot of her readers.
Growing up, I read voraciously without paying particular attention to the genders of authors—my gender consciousness came later in life.
If you could rewrite a classic book/text, which would it be and why?
While I’m not sure the text I have chosen qualifies as a classic, I would rewrite Chinua Achebe’s treatment of the love story between Obi Okonkwo and Clara Okeke in No Longer at Ease. For the simple reason that the Osu caste system deserves a modern tweaking that would begin a new discourse on the limitations of an obsolete cultural practice in the light of modern thoughts.
What do you think makes a good rewrite?
In a good rewrite, there must be an improvement on the initial draft, especially in the areas of structure, plot development and characterization. However, a rewrite may also require a different conclusion to the storyline.
Which three books should everyone be reading at this moment?
Any three books by Abdulrazak Gurnah, the 2021 Nobel Laureate for Literature.
I would like to rewrite Chinua Achebe’s treatment of the love story of Obi Okonkwo and Clara Okeke in ‘No Longer at Ease’ for the simple reason that the Osu caste system deserves a modern tweaking that would begin a new discourse on the limitations of an obsolete cultural practice in the light of modern thoughts.
What’s a recent book/text you disagreed with, and why?
As a literary critic, every text that comes my way is subject to evaluation and not necessarily disagreement.
What’s one thing you wish more people knew about writing or reading literary critism?
I wish that more people understood that the literary critic does not exist to massage the ego of the writer nor is literary criticism a bolekeja (‘come down let us fight’) between an author and a critic. There is an integral relationship between writing and literary criticism which I’d illustrate using culinary index: writing is like a chef who has spent hours preparing sumptuous meals which he serves to nobody and to no appraisal. The critic is anyone that partakes of the meal, and who observes and communicate any delights or shortcomings in the hope of improving the chef’s art, culinary skills and expertise.
And what’s one thing you look out for when you read literary criticism?
If the criticism is about a book that I’m yet to read, my first instinct is to go get a copy and have my own opinion. If it’s a book I’m familiar with, I delight in fresh insight that the critic has revealed. Finally, I ask myself: has my scope of intellectual interaction been affected by the critical discourse and analysis I’ve encountered?
What’s the last book you read that changed your mind about something?
A Man Called Ove by Fredrik Backman changed my mind about migrants and how they assimilate into new homes away from their original homes. In A Man Called Ove, the main character, Ove, is an ogre suffering from misanthropy, which manifests in xenophobic outbursts. However, as the migrants into his secluded comfort zone share space and rub their humanity off his rough edges, Ove realizes that everyone is a migrant at a given point in time and home is not a physical location but somewhere in the heart.
As a literary critic, every text that comes my way is subject to evaluation and not necessarily disagreement.
What is a common misconception about feminism in Nigeria?
For me, it will be that feminism is the ideology of frustrated and misguided women who can’t seem to have a life without bashing men and wanting to take their place in society.
Are you satisfied with the state of literary criticism in contemporary African literature?
Literary criticism in Africa has always been part of the formalistic academic environment. Perhaps this is the crux of the present predicament that is implied in this question. Except for a few pseudo-academic magazines and enterprises recently expanding the frontiers of journalistic engagement in literary adventures, who really bothers to read criticism outside the intellectual/writing community?
Do you read criticism of your work? Should authors read criticism of their work?
Yes, I do read criticism of my works and I believe every author should. Criticism helps us grow. It opens up new dimensions and hidden meanings that we may not have been aware of in the course of writing. As to how authors should read critical reviews of their books, that is left to the personality and creative humility of each author.
A common misconception about feminism is the ideology of frustrated and misguided women who can’t seem to have a life without bashing men and wanting to take their place in society.
What is your writing process: edit as you write or draft first, then edit?
Draft first and edit.
What was your process for writing, ‘Where Are the Daughters of Emecheta?’ (Forthcoming in our November-January issue)?
Same as in the above answer, and with a lot of synergizing with other critical thoughts by more brilliant minds than mine.
What’s the most meaningful piece of writing advice you’ve ever received?
Write what makes you feel good and adds value to society.
Who is an author you wish you had discovered earlier?
Akwaeke Emezi but then, every author has their season.
Write what makes you feel good and adds value to society.
What is your favourite topic to write or read about these days?
Community, wealthness and environmental issues.
What can we expect you to write about next?
The Osu caste system in Igboland.
As we end the year, which text(s) would you say shaped your 2021?
Abubakar Adam Ibrahim’s Season of Crimson Blossoms.
And this time next year, what’s something you hope to have changed, or hope has changed in your life or work?
I hope COVID-19 would have ended worldwide. On a personal note, it will be nice to have published my new book titled Condemned to Survive.
Question from Nafeessah Allen: How is your positionality as a writer reflected in the work that you produce?
Frankly, I believe in author neutrality in a text. I am of the critical ideological school that says the author is dead once the book is published. Personally, I should like to be the author that you read her books without flipping the pages to find out my life history, personal interests and quirks.
Bonus: Please suggest a question for a future author’s First Draft.
How do you resolve author/editor conflict in the evaluation of your book/article?⎈
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