Jeff Unaegbu: How precisely do you think Nigerian writers and writings are viewed globally today? And how is this view helping the image of Nigeria?
Unoma Azuah: Theres been a steady growth in the acknowledgement and recognition of Nigeria literature globally. Therefore, it creates a kind of balanced story per Nigerias image. In other words, the notion that Nigerians are nothing but scammers is being challenged because a huge number of Nigerian artists, not just writers have been involved with great and innovative work all around the world. Nigeria has quite a number of writers doing well internationally.
JU: Many Nigerians would rather watch football or do something else than read books. Why is this so? And what do you think writers should do to address this situation?
UA: Many Nigerians would prefer visual entertainment because they have enough to contend with already. It takes a fairly comfortable person to engage in mental entertainment (reading) especially when one is pre-occupied with what to eat the next day. What can be done? Perhaps, a better economy will help things. Bringing back the disappearing middle class families will also go a mighty way in seeing the reading culture revived.
JU: Nigerian writers, especially the third generation writers, seem to have an inclination for poetry than any other genre of writing. Do you think this is a historical art movement or a desire to emerge anyhow through poetic license?
UA: Did you say emerge anyhow via poetic license? In other words, youre implying that this generation of writers is lazy? I really cant say. Perhaps, it is easier to write verses than to employ longer narrative. Who knows?
JU: As a Nigerian writer living outside the country for sometime now, it must be pretty difficult for you to draw inspiration when you want to have a Nigerian setting in your writing. How do you cope with this?
UA: Yes, initially it was difficult because my whole psych took a while to adjust to the new environment. Hence, for years I couldnt even pen a word. However, with time, it became easier. Youd be surprised at the kind of impact a new/alien environment can have on ones writing; one can be affected in surprising ways. On the other hand, I am home as often as I can afford to. It helps me not to lose touch, and thats the period I do most of my writing, particularly longer narratives.
JU: You were in Nsukka last year for a poetry workshop where I met you for the first time after years of interacting with you in Nnorom Azuonyes Sentinel Poetry internet club, what is your impression of young writers at Nsukka during that visit and what advice would you give for growth? Again, what is your general impression of Nsukka during that visit?
UA: Well, I was very impressed with their level of enthusiasm; it was quite encouraging. I am wondering of there are some writing clubs that can be formed and informally meet as often as they can to read and critique each others work. There are also numerous online poetry clubs and blogs one can be a part of especially if they have a reasonable access to the internet. I am also hoping that those I gave my contact can stay in touch because Id be happy to provide any mentoring assistance and share publishing outlets within my network. Returning to Nsukka has its own special kind of nostalgia that hangs over me. Nsukka is a beautiful town, and I miss the greenery, the bubbling life, the warmth and safety that it was. It was like a womb to be; now though, it looks over-run and abandoned. However, I still hold it sacred and will always adore its sense of serenity. It is my home.
JU: Back in the University of Nigeria, Nsukka in the 90s, you were the Editor-in-Chief of the Muse Journal of the English Department, could you relieve those moments, bringing into view how they helped you grow
as a writer and what you have done to give back to that university?
UA: The Muse was an excellent platform of growth for me as an apprentice. Albeit, I had to battle male chauvinists who were mostly in charge of the literary affairs before and after I took the realms of affairs as one of the few pioneer female editors. Nonetheless, we worked as a family and were passionate about literature and writing. Our love for Literature glued us together in spite of some antagonism that existed. Then again families do have their ups and downs. It was well worth it. I miss some of the nights we stayed up, reviewing, copying and pasting materials to get them ready for the publishers. I remember frequenting Enugu where our publisher was based, and then having to stay over for a day or two just to make sure the journals go back with me to Nsukka. This encounter gave me the hands-on experience that I use till date. I did establish an endowment with my fathers name, the Peter Akaa Azuah literary awards as a way to give back to the community that fostered me. Unfortunately, there was a communication break down along the line, but I am hoping that the award will be revived.
JU: Your collection of short stories, Length of Light showcases the yawning dissimilarities between the desires or dreams of ordinary people and the realities that surround them. What influenced you to focus on this theme and how do you wish this book to affect people?
UA: When I was growing up, I witnessed dire needs and lack and these constrained me to ask questions about the huge disparity I saw and still see between the rich and the poor in Nigeria. It saddened me to witness great potential wasted on an unnecessary car wreck for example because the roads have been abandoned, or to see a young life destroyed by the very flame of the fuel he tried to hawk on a roads side just as a mere attempt to survive or exist. So part of responding to these questions and toying with answers was found in creating stories. It was as therapeutic as creating order in the midst of chaos where none comes to be in my reality. Writing these stories became a coping mechanism. It has been my hope that these stories read like a signpost for our leader or their advisers, and maybe force them to be for the people they govern.
JU: Your novel, Sky-high Flames, clearly motivates women who are entangled in a wrong cultural web to bravely disentangle themselves from it. Is it possible for this novel to motivate men to leave wrong marriages too, especially if their dying parents, in a bid to have a grandchild, had pressured them to marry a wrong girl?
UA: Yes. Sky-high Flames can be interpreted as dont novel. One of my many intentions for writing the novel is to let people know that what counts at the end of the day are their lives and not their parents or relatives or communities lives. If one is not at peace with ones self, one can not share or spread love and peace. Gone are the days when we do things to please people when at the end of the day, we have to face the beat to the consequences of our choiceswise or otherwise.
JU: In the soon-to-be-published Edible Bones, we are faced with the realities of hoping for greener pastures. And at once, one senses that you are trying to drone into your audience the difficult truth about traveling and living abroad, especially because the theme was dealt with in Sirens a short story in Length of Light and in other writings of yours. Is this an indication of a difficult personal experience bordering on immigration or a desire to simply reveal to Nigerian immigrants the cost of living home, or both?
UA: Yes and No. Yes because relocating is a form of dislocation, and the grass may not be as green as one may have envisioned it to be. Additionally, there are prices to be paidbe it in dealing with the weather or in trying to make your foreign neighbor understand what youre trying to say with a thick Nigerian accent. It can be frustrating. Nevertheless, I say No because there are two types of immigrantsthose that are legal and go about their normal businesses without fear. Then there are others that are illegal, most of which face horrible encounters. Some of them are hounded like animals, some others cease to exist because they have to destroy their true identities in order to manipulate and negotiate their way through the system. These are the types of immigrants I try to capture in Edible Bones.
JU: Using some of your poems, could you please point out messages which you deeply wish your readers pick out as they read your poetry?
UA: Id say that my poems came and still come in phases. There was a time my preoccupation was with respect for traditional rituals and beliefs in contrast to what the Western influence is doing to us and has done to us. Look at fundamental Christianity for instance, it has eaten deep into our fabric, so much so that some of use attempt to obliterate our traditional strongholds be it in artworks that are/were found in shrines or in desecrating places once considered sacred. Then I explored sexuality and human rights, which I still do. My point here is that my messages vary depending on the time and place I find myself.
JU: You organize very lively poetry workshops in which a lot about poetry is learnt. For the benefit of many aspiring writers who have not attended these workshops, could you please briefly reveal some secrets
to writing good poetry?
UA: I am not sure Id call them secrets but most of the engaging piece of art, be it poetry or music tend to evoke images and tap into the five human senses of taste, touch, smell, sight and hearing. In other words, can I see harmony in your poem? Harmony in this context is very much like the harmony in music where you hear, not just one voice, but voices working together to produce a breathtaking result. The same applies to poetry. Can I find a poem that taps into multiple tropes and still maintain a strong sense of blend and balance? Can I visualize what youre saying in your poem? Are you being sincere in your poem or are you trying to impress? Be yourself, be simple, and try to paint a picture, have a message.
JU: In the public eye, it appears you are preoccupied with prose than poetry recently, is there a deliberate reason for this?
UA: No. There is no reason for it. It comes with my mood sometimes, and I guess lately I see more complexities as I get older and the prose format gives me that broad brush to get entangled and disentangled. It gives me a generous amount of space to investigate more options and possibilities.
JU: Your book of poetry, Night Songs portrays sexuality as one of its themes. And the issue of homosexuality in males and females is in the front burner in the world today. What is your clear take on this?
UA: My take on sexuality is that people should not be victimized or killed because of their sexual orientation. If religion becomes the basis for judging people of the sexual minority, then they should let God be God and not act for Him or on his behalf. He is capable. I dont think God sanctions persecution for any human He finds worthy to create, regardless of what may be considered their flaws, and if there is a need for such maltreatments, then let Him take charge for those that believe in the Day of Judgment. Period!
JU: In order to encourage and motivate upcoming writers, could you kindly reveal to us the difficulties you went through to have your works published and how you overcame them?
UA: Finding a major publishing channel was daunting but with time I learned that patience and consistency in hard work pays off. Further, I was fortunate to have friends who were/are professionals. We shared and critiqued our writing. Some of their criticisms were harsh. But, I learned how to take it in good faith. I didnt take it personally because I realized early that taking corrections and revising made me a better writer. I started to appreciate feedback and criticism. Consequently everyday I acquired something new.
JU: What advice do you have for upcoming Nigerian writers?
UA: Keep writing, if youre good, the light will find you and get you to the limelight. Let writing be something you enjoy doing. Focus on it; perfect it as much as you can before looking into publishing. The process is painstaking, but it will come when it will come. Dont give up.
JU: As a digression, especially for the benefit of your female fans, what is your idea of an ideal man or a Mr. Right?
UA: My idea of an ideal man is centered on love, trust, patience, understanding, and being a friend. Keeping that communication channel open always is something he should be willing to provide.
JU: How do you view romantic relationships and what personal experiences of this kind would you like to share with your readers?
UA: It is my opinion that romance may fade but where there is true love that romance continues to be fed and nurtured. Without true love, romance is usually a short lived phenomenon: a mere infatuation. You know it is true love when your partner accepts you just the way you are with all your flaws, he does not try to change you to suit his taste. Otherwise, run!
JU: Thank you Professor Unoma Azuah for this exhilarating interview. We hope to have you again soon for another engaging session.
Dated March 30, 2011.
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