By Josfyn Uba
Nigerian author Chioma Okereke’s recent novel is a tapestry of contemporary issues, including how people can be humanized through empowerment, equity and empathy.
In this interview with Daily Sun, she explains how, as a writer, she is using her art to drive a change in society, how aspiring writers can reach their full potential and how her worldview of today’s woman is built.
Why did it take you this long to come up with another novel after Bitter Leaf?
I never anticipated such a long gap between books. I’d hoped Bitter Leaf would be a jumping off point, but its journey was interrupted at the beginning and there were a host of other setbacks along the way, including some very near misses. Publishing is a very isolating business for authors, and it’s not mostly reflected by those amazing success stories we witness from time to time.
But amid all the hurdles, there were enough indications for me to keep going. Due to the pandemic, there was a backlog in publishing, so while the deal for Water Baby was signed a while ago, it was a three-year wait before its publishing date.
Why is your new novel tied to activism?
I am not sure whether I’d refer to it as activism as opposed to being an advocate for social responsibility. The process of researching Water Baby opened my eyes to the myriad issues faced by the people of Makoko. These challenges are not just local; they are reflective of broader global issues such as climate change, urbanization and the digital divide. Through Baby’s story, I aimed to highlight the resilience and ingenuity of the human spirit in the face of adversity. I hope that readers will be moved to consider the lives of those in underrepresented communities and the systemic issues that perpetuate their struggles.
In the end, my writing is a reflection of my belief in the power of literature to effect change.
Apart from all these, what else did you want to tell readers?
It is an invitation to readers to join me in envisioning a world where social responsibility and compassion guide our actions and I hope that the book urges readers to look beyond their immediate surroundings and to recognize the inter-connectedness of our global community. By bringing attention to Makoko and similar communities, I hope to inspire a sense of empathy and a desire for social justice. My goal is to use storytelling as a vehicle for change, to spark conversations and to motivate individuals to contribute to meaningful solutions.
Writing isn’t merely about showing the world how it is, but imagining how you would like it to be and so it’s natural that my awareness doesn’t end the moment the book does.
You shuttle between Lagos and London and France. How does that enhance your worldview of a woman’s place in a man’s world?
I think a great privilege of living in different parts of the world is exposing yourself to multiple perspectives that shape or inform your beliefs. However, I don’t perceive myself as existing in a man’s world. I see myself as part of the world, which presents its own unique set of challenges for all individuals, regardless of gender. Perhaps this perspective is influenced by the fact that I was not raised in a purely patriarchal society.
Each location I call home — Lagos, London, France — offers a distinct cultural and social landscape that enriches my understanding of the world. Lagos, with its vibrant energy and complex social dynamics, constantly reminds me of the resilience and creativity inherent in Nigerian women. Here, women navigate a society that is simultaneously traditional and modern, finding ways to assert their agency and voice amid diverse challenges.
London, on the other hand, provides a more cosmopolitan experience, where the struggles and triumphs of women from various backgrounds intersect. The city’s diversity and progressive ethos offer a broader lens through which I view gender dynamics. It is a place where conversations about gender equality and women’s rights are robust, yet reveals the subtleties of inequality that persist even in seemingly advanced societies.
In the tranquil and reflective settings of rural France, I find space to ponder the deeper implications of gender and society. The slower pace allows for contemplation and a more profound connection with the narratives of women who have come before me. Here, I am reminded of the universal threads that bind women’s experiences across different cultures and time periods.
My travels and interactions have shown me that while gender inequality remains a global issue, the responses to it are as diverse as the cultures they arise from. I am heartened by the women and men who challenge these inequalities and strive to create a more inclusive world.
How will your advocacy make a difference in the lives of the people of Makoko?
I hope that my book raises more awareness about what people in underserved communities face, the challenges of their daily life and inspires others to get involved and find ways and solutions to help their fellow men. Ultimately, my goal is to use my platform as a writer to amplify the voices of those who are often marginalized and overlooked. By illuminating key issues affecting their lives, I hope to inspire others to take an active interest and find ways to contribute positively.
The setting of Makoko might be alien to some, but the themes in Water Baby are very universal, which was the point. By telling Baby’s story, I aim to humanize these issues and bring them to the forefront of readers’ minds, and to foster a sense of global citizenship and social responsibility, thereby inspiring readers to become advocates in their own right, working towards a more just and equitable world for all.
One of the key ways I hope to make a difference is by encouraging a deeper understanding of the resilience and resourcefulness of communities like Makoko. Despite the harsh conditions, there is a vibrant culture and a strong sense of solidarity that deserves recognition and support.
By highlighting these positive aspects, I aim to shift the narrative from one of pity to one of empowerment.
How easy was it for you to get started and gain recognition as an author?
Getting started was easy in that all it required was writing, and I’d started off writing poems when I was quite young and my love for the written word escalated from there. But it was when I discovered the Nuyorican Poets Cafe in New York while doing a Mountbatten Internship programme that I truly recognised myself as a writer. I’d found my people and it felt good to be part of a writing community. However, when I returned to the UK, I found it difficult to make connections within the industry. I spotted a notice in a newspaper a few months later, advertising diversity in publicity traineeship, so I applied and was accepted. It involved six months within the industry.
In editorial, I made it clear that I was an aspiring writer, and was told that it would be difficult for me to find a marketing hook to hang myself on, but that were I to get representation, I would get a deal quickly. And that’s exactly what happened.
In terms of gaining recognition, it was a long road, and I could easily argue that I’m still not that renowned an author.
Most authors do their work in isolation but the path to publication requires forging connections, which can be extremely difficult, especially if one doesn’t come to writing via education channels. Equally, the road is full of rejections and setbacks but, if you want it, then you keep going. You cling onto the tiny bits of encouragement, you hone your craft and eventually you start to find your allies.
What would you have been doing instead, if you were not a writer?
What I would have been doing and what I would have wanted to do are two different things. I also work in communications so I imagine I might have been pursuing that at a very different level were I not writing as well, but if I had all my time back again, then there is a very real scenario where I would have been a chef.
Drawing from your experience as an author, how would you advise aspiring authors, especially female ones, on how to make headway in their publishing career?
I don’t think advice for writers differs according to one’s gender. I would simply say, try to enjoy what you do but remember it’s a business. It feels very personal at times, but at the end of the day publishers are in the industry to sell books, so it’s crucial to balance your passion with an understanding of the market.
So, my general advice to authors is: write what you can live with. Write stories that resonate deeply with you. Narratives you can stand behind with conviction. I’m very mindful of what I’m placing out in the world and the kinds of stories I want to tell, whether they help or hinder society.
Educate yourself about the industry, from the submission process to publishing contracts and marketing. Believe in yourself and your voice. The path to becoming a published author is not easy, but it is achievable with determination and persistence.
Specifically, for aspiring female authors, I would add: there is nothing wrong with prioritising your work because as women we have a tendency to sacrifice our needs for other people’s and we all lead busy lives. But writing requires time and space—physical, mental and emotional — that you should honour without apology.
Lastly, celebrate your successes, no matter how small, and learn from your setbacks.
How would you convince an aspiring author that the profession is profitable?
I don’t think the profession is profitable, except if you’re one of the lucky few.
But I never ventured into the profession thinking it was going to grant me my fortune. I don’t even think
I consciously chose to be a storyteller; it’s just innately who I am. Nevertheless, the profession is rewarding in other ways. The singular achievement of crafting a story until its conclusion, the completion of the publishing cycle, the connection with one’s readers, the honing of the craft, the enjoyment of other people’s work―that’s why I love the profession.
In terms of profitability, it is important to have realistic expectations. For many writers, financial success comes from multiple streams of income, including book sales, speaking engagements, workshops, and freelance writing. Diversifying your skills and exploring various opportunities within the literary world can enhance your financial stability and career longevity. More importantly, within the industry, success and profit aren’t mutually exclusive.
So while financial considerations are important, they shouldn’t be the sole motivation. Writing is a journey of self-discovery, creativity, and connection. It is about sharing your voice with the world and making a lasting impact through your words.
How does being an African, a Nigerian and Igbo help enrich your writing?
It’s difficult to answer that question since I know no other lived perspectives from which to navigate the world. Africans, Nigerians, Igbos have such rich cultures, but any ethnicity can make that same statement.
Growing up in Nigeria, I was immersed in a culture that values oral storytelling. From a young age, I was surrounded by folktales, myths, and legends that were passed down through generations. These stories were not only a form of entertainment but also a means of preserving history, imparting wisdom, and instilling moral values. This rich oral tradition has had a profound impact on my writing, influencing my narrative techniques and the themes I explore.
In addition to cultural influences, my personal experiences as an African living abroad have enriched my writing. The diasporic experience brings its own set of challenges and insights. Living in different parts of the world has exposed me to various cultures and perspectives, broadening my understanding of human nature and social dynamics. This cross-cultural experience allows me to write with greater empathy and nuance, bridging the gap between different worlds and fostering a sense of global interconnectedness.
I’m encouraged by the voices out there that are expanding the scope of literature, challenging stereotypes, and breaking away from monolithic representations of the continent.
Any other insights or information about your personal or professional life you will like to share?
I set up Makoko Pearls to give readers — and the world at large — a safe way to financially support the inhabitants of the inspiring community, where Water Baby is predominantly set. Working closely with the community and alongside local organisations, we are committed to the relief of poverty in Makoko through sustainable development projects and the provision of basic needs, as well as facilitating access to opportunities and resources that will empower residents to improve their living conditions.
Makoko Pearls will focus on sustainable development, education, and healthcare, working closely with local organisations to address the immediate needs of the residents while also creating long-term opportunities for growth and self-sufficiency. By providing a platform for individuals to contribute, Makoko Pearls aims to create a network of support that extends beyond the pages of the book.