That’s right. It took me fifteen years to write about thirty versions of my debut novel Love’w Garden, until editors and readers thought I’d got it right. So, to begin with, writers take heart. The only thing you mustn’t do is stop writing. It will take the time it takes but patience is the sweetest sauce.
I want to share with my dear readers, family and friends, near and far the press release for Love’s Garden. Do browse, and think of eight very happy writers. You’ll see the cover of Love’s Garden on the top right.
OH BY THE WAY! If you have responses to the current cover design of Love’s Garden I’d LOVE to hear from you. The current image is not final, and if you would like to suggest changes I would be more than delighted. Thanks, all! You can comment directly at the link on this post.
Nnedi Okorafor has stolen an irreducible march in the Best Title Ever contest. Who can beat “Who Fears Death” as a title? But more than that, much more, is that Okorafor has shown the way to write fantasy/dystopia that is more than ever a reminder that Truth is way, way stranger than Fiction. If the dystopic Africa of Who Fears Death seems to anyone to be just an imagined, overheated, disjointed, violent and unbalanced society (haha count those modifiers), try reading Emily Wax’s Washington Post article about Sudan and the weaponization of rape. From 2004 on, when we were sitting in our homes and decrying world apathy toward the Sudanese genocide, thousands and thousands of women suffered fates in Sudan equal to if not worse than EVERY scenario of rape and torture that Okorafor evokes in Who Fears Death — I would say creates but then, again, truth is stranger than fiction — in her unforgettable novel Who Fears Death. Onyesonwu, the eponymous protagonist, doesn’t fear death because who fears death after what life shows to be possible in the everyday?
Okorafor was impelled to write this novel after she read that article, but here’s not a case of art imitating life either. The overall effect of the writing transcends its supposed origin story because Okorafor foregrounds the realization that the fictional recounting of horrific gender violence on the scale of atrocities that are globally common enough to seem banal is terrifying at least to a large extent because representation demonstrates the impossibility of itself. Language fails before the scale of the violence and the atrocity so that the witness must shapeshift in order to make sense of a reality that is truly protean in its torments and terrors. The novel was long and at times too richly worked to not become confusing, but that was my failure as a reader. I expected linearity and accessibility in a world that is a minefield of mortal danger for women.
While admittedly — even undeniably — wicked clever and inventive, Monica Byrne’s dystopic novel lacks even a single shelf for a reader to store their emotions. While I understand that this is the condition and peculiarity of postmodernity, the constant shifts in perspective and the fungibility of characters for one another produce mostly a sense of pastiche and not critique (I’m assuming critique was part of authorial intention, if one might for a second be allowed to revive that moribund concept). With the dense semiotic of the elements of the novel being almost impossible to untangle, ultimately making it impossible to identify with anyone or anything, The Girl in the Road obviously a satisfying artifact of postmodernity but affectively draining and cognitively wearying for the reader. The world that Byrne has created is intensely brittle, manipulated, multidimensional and polymorphous, but less focus on the possibilities of pastiche and paranormality and a little more on the meaning and yield even of shifting positions and subjectivities in a compressed time-space would have made the novel more readable and enjoyable.