Nigerian novelist, Yewande Omotoso’s most recent novel, An Unusual Grief, was inspired by her experience of loss: ‘My mother died when I was 23, and apart from the recent birth of my children, that is the most profound experience of my life. The grief that followed is a sharp memory of mine and I’ve often joked that the experience irrevocably marked my 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 did you read growing up?
In my pre-teen years, I read books such as Yoruba Girl Dancing by Simi Bedford, Beka Lamb by Zee Edgell and books by Rosa Guy. I also read a lot of Enid Blyton and Betsy Byars. In addition, my parents exposed my brothers and I to a range of books and comics. By doing this, they were non-discriminating, and I really appreciate that especially now as an adult.
If your life so far was a series of texts, which text (fiction or non-fiction) represents you at this moment?
All Bodies Are Cool by Tyler Feder.
What’s the last thing you read and disagreed with?
Invoice from my children’s school.
My parents exposed my brothers and I to a range of books and comics. By doing this, they were non-discriminating, and I really appreciate that especially now as an adult.
What’s the last thing you read that changed your mind about something?
I think these changes happen much slower—at least for me—versus one defining moment. In this way, the work I read sensitizes and conscientizes me. To answer this question, the list is quite long. However, I found a recent reading of an interview of Clarice Lispector really moving and inspiring.
What is your writing process: edit as you write or draft first, then edit?
I tend to write wildly and freely, and then edit later. For me, this feels the most permissive with much less angst. When writing, I always tell myself: before it can be good it has to be bad, get it on the page, fix it later. This produces a creative flow, albeit unregulated. Although a lot of bad sentences come through, occasionally, something lovely also does. It’s a process that allows me to get into a rhythm and access a subconscious space; I like it when I surprise myself.
What was your process for writing your latest novel, An Unusual Grief?
I wrote this book over a period of about three to four years. Initially, in my writing process, I follow a thread of an idea. For instance, in An Unusual Grief, this was: an estranged adult daughter disappears and her divorced parents search for her. The sense of this family that has really failed—failed in connection, failed in love—and now the opportunity to mend that. But I’m never wedded to an idea, it’s just how to start. As I developed the story and characters, some aspects fell away. Through many versions I realized Yinka hasn’t just disappeared, she was dead. And later on, that she’d taken her own life.
My writing process is exploratory. It is testing, checking, backtracking, testing again and so on. I don’t outline. I have many drafts of An Unusual Grief in my hard drive with versions dramatically different from what ends up on the published page. It might seem sensible to outline (it does to me!) but when I’ve tried it my writing has dried up and shrivelled. For whatever reason, I need to be surprised on the page, I need to discover what I’m doing as I do it. It’s thrilling, it’s scary (devastating), it’s definitely not ‘efficient’, but it’s incredibly satisfying and meaningful.
This novel primarily explores death and mother-daughter relationships. Why did you decide to write on this topic?
I can’t answer for why. A story creeps into my consciousness and haunts me sufficiently that I’m driven to try and capture it.
Was there a character or occurrence in the novel that was inspired by real life person or event?
When I sit down to write, the work comes from everywhere. I draw on everything, I don’t write in a vacuum. I’ve always thought of my fiction as a way of hiding in plain sight. It’s not consciously inspired by one event or person, rather it is that I’m writing from a subconscious space and I’m drawing from the very depth of myself, my memories, experiences, beliefs, and fears.
In terms of An Unusual Grief, I do draw on my own experience of loss. My mother died when I was 23, and apart from the recent birth of my children, that is the most profound experience of my life. The grief that followed is a sharp memory and I’ve often joked that the experience irrevocably marked my writing—I’m obsessed with mothers and death, death and mothers. That’s all I have! In order to avoid too much on-the-nose biography, I deliberately switched the scenario—what if I died at 23 and my mother grieved? I drew on this provocation while writing.
You currently live in Johannesburg, South Africa. What books by South African authors would you recommend?
Apart from a solid universe of literature pre ’94 there has also been a triumphant proliferation in publishing in the last 30 years, producing diverse works that match a plethora of preferences. For a start, I would recommend a few contemporary anthologies that gives you a taste of that diversity and the array of writers. Black Tax: Burden or Ubuntu edited by Niq Mhlongo; Joburg Noir edited by Niq Mhlongo; Our Ghosts Were Once People edited by Bongani Kona. Check out back issues of Johannesburg Review of Books for more range and reading pleasure. This is a non-exhaustive list but just a few hints at the wealth of literature that abounds here. Parenting two-year-old twins means that I’m not the most well-read at the minute so there is a lot that I have missed. However, it is a thrilling and exciting landscape to participate in and I feel lucky.
When writing, I always tell myself: before it can be good it has to be bad, get it on the page, fix it later.
Who are the authors you’re most excited about today (and why?)
I get excited mostly from the perspective of being a writer. The works I read gives me permission to continue with my project, messy as it feels, incomplete and inexact. Sometimes, it is about being excited by a writer but more often it’s about being excited by a constellation of words—a book here or there—or ideas I encounter that make my own endeavours feel a part of something bigger and worthwhile.
What is your favourite topic to write or read about these days?
I find that I tend less to write about a topic or theme. I’m drawn to writing by voice or character, a dilemma, or a particular scenario. But as I have mentioned, I do feel I’m obsessed with mothers and death.
What are you currently working on?
I’m working on an autofictional piece. It is based on my experience of becoming a mother, the process I went through, and how my story links—or doesn’t—to the stories of my mother and grandmother.
I’ve always thought of my fiction as a way of hiding in plain sight. It’s not consciously inspired by one event or person.
Question from Kai Mora: Who is the person in your life that has inspired you the most?
My grandmother.
Bonus: Please suggest a question for a future author’s First Draft
What surprised you the most about what you wrote—was there anything unexpected?⎈
We want to hear what you think about this interview. Submit a letter to the editors by writing to editors@republic.com.ng.
