I wrote the following in early February after my parents returned from a trip to the U.S. and brought with them Binyavanga Wainaina’s memoir One Day I Will Write About This Place I had ordered for my friend Daily Times columnist and author Elnathan John:
Before I send it off to Elnathan, I crack it open curiously, read a chapter before I go to bed. The next morning I wake up and open it again. I read greedily. The way I used to when I was in high school with my science fiction and fantasy. The way I read when I would neglect my homework, come home with a novel, which I would finish before I would start my homework late at night, working on my bed far into the night with a candle. I would fall asleep, my head inches from the candle balanced on a plate, sometimes not yet done with the algebra, which I would try to hurriedly finish in shaky pencil in the car on the way to school the next morning.
Those days, I poured the stories into me. Every day a new novel. Greedily. In grad school, I began to read more slowly, pencil in hand. I read theory and criticism, and long academic papers that I printed from the Internet. It was no longer a joy to read. I stopped reading. I became addicted to the Internet. In grad school when trying to finish my MA thesis, I started a blog. It was such a relief to have that outlet–to write my thoughts effortlessly in that forum when I was so stuck with academic writing. Then Facebook came along, and I became doubly addicted—to the inane games, the well-turned status update, the latest news–link upon link upon link.
I am two days late on an academic paper deadline, and yet I am sitting here in an office chair in my parent’s spare room, sitting at the desk in front of my computer, reading shamelessly–even when my mother comes in, the computer screen dead–reading Wainaina like a science fiction novel. It is not what I am supposed to be doing. It is not work. It is pleasure. Wainaina’s musings awaken in me memories of my own life, of the daydreams at fifteen, when I would stare dreamily out the windows of our van at the misty mountains of the green plateau in rainy season and imagine fantasy novels about a shepherdess name Merrony tending flocks on a long sunflower strewn Plateau. It was to be a trilogy. I can still remember the story now, as if it were a novel I had read long ago, a novel that will always remain in that “to-be-written” stage. My preoccupations have moved past Merrony, but Wainaina makes me want to write again in that way.
When I planned to write a review of Wainaina’s memoir for my column, I thought at first maybe I’d write something stream of consciousness. What I’ve copied above was the beginning of my brainstorm. But it felt too self-indulgent for the Weekly Trust. I let it be a blog post. Instead, I decided to focus on the parts of the memoir that seemed the most strikingly relevant to Nigeria right now. I can’t find the hard copy of the article, but if you scroll down below or click on this link, you can read what I wrote.
A mixed-up people: When Wainaina writes about Africa
Written by Carmen McCain, Saturday, 11 February 2012 05:00
This past week, I procrastinated revisions on an academic article to greedily devour Kenyan author Binyavanga Wainaina’s 2011 memoir One Day I Will Write About this Place. Wainaina won the Caine Prize for African Writing in 2002 for his short story “Discovering Home” and is perhaps best known for his satirical essay “How to Write about Africa” published in Granta in 2005, a piece that skewers stereotypical ways in which non-Africans write about the continent. In a later reflection on the essay, Wainaina reveals that it “grew out of an email” written “in a fit of anger, responding to Granta’s “‘Africa’ issue, which was populated by every literary bogeyman that any African has ever known.” When Granta later published an edited version of the email, he wryly remarks: “I went viral; I became spam. […] Now I am ‘that guy,’ the conscience of Africa.”
As my own familiarity with Wainaina’s writing was limited to
having read a couple of his sardonic essays and interviews, I admit that the lilting dreaminess, even sweetness, of his memoir came as a surprise. If “How to Write About Africa” bitingly mocks how foreign reporters or celebrity activists write about Africa as if Africans had “no conflicts or resolutions in their stories, no depth or quirks” then Wainaina’s memoir explores the depths and quirks through the remembered details of his own life.
Wainaina writes in an impressionistic present tense: the haze of childhood, an early obsession with words, his mother’s patient love. He changes schools, goes to South Africa for university, holes himself up in a room, drinking, reading, partying, never finishing school. He takes a trip to Uganda for a family reunion, out of which comes his first publication in a South African newspaper. A turn in the narrative comes when he submits the hastily revised piece, re-published as a short story in an e-journal, to the Caine prize. Although they initially respond that they do not accept electronically published material, one day he receives another “email from the bloody colonizers” inviting him “to come to England, and have dinner in the House of Lords, and do readings, and go to the Bodleian Library for a dinner of many courses, with wine, and all of London’s literati.”
Following his Caine prize win, the memoir becomes more travelogue of the African countries he visits on writing business, impressions of Lagos, Lome, Accra; Kenyan election violence; African news browsed for on the internet, the writing life in America’s cold winter, where he is now director of the Chinua Achebe Centre for African Writers and Artists at Bard College. What struck me most in this sprawling account of family and personal history was the reoccurring motif of the ambiguity of borders, the way people change personalities as they switch languages, the shifting identities of ethnicity and naming that languages bring, how they include and exclude.
Wainaina grew up in Nairobi, son of a Ugandan Bufumbira mother and a Kenyan Gikuyu father, speaking Swahili and English. Following Gikuyu tradition, he, as second son, was named after his maternal Ugandan grandfather, Binyavanga, a Bufumbira nickname that means “mixed up”. His name becomes an appropriate lens through which to read his memoir.
Lessons about the way language and ethnicity exclude come early. One of his earliest childhood memories is of a quarrelsome woman who insults his mother because she is Ugandan. As a teenager while Kalenjin Daniel Arap Moi is in power, Binyavanga and his sister are among the top twenty students in their province, yet neither of them is called to any secondary school, “Rumors are spreading everywhere. We hear that […] names are matched to numbers, and scrutinized, word by word, line by scientific line, for Gikuyu names in the secret office by Special Branch people.” Discriminated against because of his father’s Gikuyu name, when a Gikuyu becomes president, “for the first time in my life, to be Gikuyu is a public event. […] The rest of Kenya has become Tribes. There is a text message being sent to Gikuyus calling Luos and people from western Kenya ‘beasts from the west.’” The Ugandan origin of his first name becomes confusing for those who want to pigeon hole him into one of “us” or “them.” He describes an airline hostess who insists on knowing where his first name came from before she lets him pass. “One person stops me on a street to tell me how happy he was to see me in the newspaper—but that name of yours, my friends are asking, you are half what?”
And yet, Wainaina points out, these political uses of language and ethnicity are often colonial constructs. He frequently returns to a history of diverse kinship, rich old stories about the kingdom of Buganda, the Swahili culture the Arab explorer Ibn Batuta encountered centuries ago. “We are a mixed-up people,” he writes, describing how his Ugandan grandmother was originally from the Congo, his mother’s sister went into hiding in Rwanda, other family members settled in South Africa and America. In the two days of a reunion in Uganda, “we feel like a family. In French, Swahili, English, Gikuyu, Kinyarwanda, Kiganda, and Ndebele, we sing one song, a multitude of passports in our luggage.”
Of his nanny Wambui, he writes, “Her aunt is half Nandi, her grandmother an Ngong Maasai. Wambui is Gikuyu by fear, or Kenyatta-issued title deed, or school registration or because her maternal Gikuyu uncle paid her father’s fees, or because they chose a Gikuyu name to get into a cooperative scheme in the seventies. […]She could have become a Luo, if they stayed there long enough, and she married there; she is dark skinned enough to get away with it.”
Though Wainaina’s memoir is written in English, he invokes his compatriot Ngugi wa Thiong’o, the great champion of writing in African languages, in a celebration of how multiple languages, though sometimes abused politically, are one of the riches of Kenya’s national character: English for official business, “brotherhood” in Swahili, more intimacy in mother tongues. “All city people inhabit several worlds in many languages. […Some] speak six or seven languages.”
Personalities change from language to language. A Maasai girl he meets is shy and awkward in English, but in Swahili and the street language of Sheng, “she pours herself into another person, talkative, aggressive. A person who must have a Tupac T-shirt stashed away somewhere.” On a bus, he watches a conductor whose “body language, his expressions, his character even, change from language to language—he is a brash town guy, a Gikuyu matatu guy, in Gikuyu, and even in Kiswahili. When he speaks Kalenjin, his face is gentler, more humorous, ironic rather than sarcastic, conservative, shy eyes.”
In his travels around Africa, Wainaina’s observes, along with delightful new quirks of national character, similar discrimination over language, class and ethnicity. Towards the end of the book, he writes in a fog of horror about the Kenyan election violence of 2007-2008.
Yet the mixed-up nature of his own family background points to relationships of familiarity possible all over the continent. When, a kind South African friend hires Wainaina, at his most destitute, as a marketer, he remembers in a rush of warmth other acts of compassion: how another South African friend “offered to let me stay rent free in her house” and how her “father, a physics professor […] left South Africa in the fifties unable to get a job in Verwoerd South Africa [… but] was adopted in Nigeria where they lived for many years, […teaching] a generation of Nigerian physicists at Ibadan.” “This is how to become an African,” he writes.
The “place” Wainaina writes about is both his mother’s hometown and the continent he travels: His family history is one of blood and one of adoption by friends throughout Africa. This is how to write about Africa, he implies. This is how to write about this place.
Interesting piece madam i think what the writer wrote is a true reflection of what exist not only in his home country but in the nation of Africa and Nigeria in perticularly, i need not to say that you are a leaving witness of what has and is still happening in our once cherish state of plateau. I never blv there ‘ll come a day when a hausa man, a birom, ngas, or tarok ‘ll be treat to each other. We together build a dream home for every nigerian but today we together destroyed it. I blv we can still rebuild it.
This is indeed a well-researched article, and it has contributed in making a kind of paradigm shift in African literary criticism and literary composition.