Simon Mol: An Interview

Interviewed by Sulaiman Abdu

With the intention of writing about the circumstances under which African writers have to write and find out how these circumstances can constraint the productivity of African writers, Sulaiman Abdu, a London-based freelance journalist talks to Simon Mol:

Sulaiman Abdu: Can you, if you don't mind tell me why you sought exile? Can you describe to me the environment/circumstances under which you have had to write when you were living in Cameroon?

Simon Mol: I started off as a reporter for The Sketch— an independent English weekly newspaper. The fundamental policy of the newspaper was to defend the rights of, and be a sort of a mouthpiece for the English minority in Cameroon — a stand which attracted hostility to such an extent that at certain points the main office would be closed for an entire week following a particular publication.

S. A: Please tell me the effects of these circumstances on your writing?

S.M: To a considerable extent these have endowed me with courage and engraved in me a principle to defend the minority and oppressed wherever I find myself.

S.A: Please tell me the frustrations, if any, you have felt as a result of having to write under these circumstances?

S.M: The greatest frustration is a mounting feeling that society to a large extent is a complex box full of imprisoned, starving and angry bees. And that those who hold the key to this box are few and untouchable. I too am one of the bees in the box— a bee that craves for freedom, perhaps more than most.

S.A: When in exile, you might have faced many obstacles besides racism - which you have referred to in your marvellous piece, 'Me In Poland' - please say what these obstacles are…

S.M: Let me start by saying that there is exile and there is exile. What do I mean by this? Where a writer comes from and where he finds himself in exile, is a crucial and determining factor that authoritatively shapes his future. The most important instrument at the disposal of the writer is word, which is largely an individual phenomenon, i.e., his style.

The next is a medium and by this I mean language. Now, a writer who basically uses, say the English language, as his medium of communication, and who finds himself as I do in an environment where English is not the official language, this could better be illustrated with the example of a fisherman who finds himself in the heart of the desert with his canoe and paddle. 

Another element of frustration stem from a sort of intellectual resistance put by some who nurse a phobia of dominance from a foreign culture through the work of a foreign writer, poet or artist. Generally speaking this is another serious issue, which turns to lead to a variety of unpleasant experiences suffered by an exile writer. 

S.A: Do you think exile have had positive or negative effects on your writing and product - in terms of quantity, but also on quality, that is, do you feel as a result of exile and having the political freedom, your writing had improved?

S.M: As unpleasant as it might be, being in exile has an enriching potential, which could be beneficial to a writer in terms of experience. However the potential is a two-edge sword in that if one doesn’t make use of it, it makes use of one. And when this potential is in control, the repercussions are regrettable.

On the question of political freedom, I don’t think I have the political freedom which you are referring to in spite of the fact that I don’t nurse any political ambition. But yes to a certain degree, my writing has improved both in terms of quality and quantity. In quality because under a new and subtle form of censorship that I find myself in, I have learnt from often bitter lessons how to circumvent hostile restrictions and put my message across with polished words and metaphors. In quantity there has been a marked improvement as a result of multiple experiences—positive, neutral and negative, which are bountiful.

S.A: Do you feel frustrated as a result of being far from your home, environment and your audiences in Cameroon?

S.M: Yes and no— there is no stable answer to this one. Away from home, I know with unfettered faith that It is there—and I am aware of a yearning which is akin to the anxiety of the human spirit of what awaits It after Death— a deep curiosity and a mystifying anticipation. 

S.A: Many African writers have commented that, because of economic and political poverty in Africa, they have to be political in their writing, do you agree with that?

S.M: Cameroonian poet Laureate and playwright Bate Besong, won the ANA (Association of Nigerian Authors) Award in 1992. It was an iron and symbolic gesture because in that year, for obvious reasons including literary bravery in the face of political hostility, the Association of Nigerian Authors decided to Honour a Cameroonian writer. For one thing the Award echoed the fact that literature doesn’t respect boundaries.

Then I was a reporter for The Sketch. Together with my Editor-in-Chief, Charlie Wysui, we interviewed Bate Besong. One of the most remarkable phrases he unleashed was that, “A writer who escapes the burning issues of his day, betrays his people.” I think this answers the question. A writer who finds himself in an environment strongly under political influence to the extent that this impacts on the economy and the lives of the people, has a moral obligation to react because in most cases he is left with no choice. This is a natural reaction to an earlier act.

Hence writing is not for cowards and trying to separate literature from politics in most cases, is like trying to separate a shadow from its body. Writing is a humanistic and dramatic art that requires bravery especially when it takes the forms of fiction and poetry.

Looking back now with over a decade of journalistic experience behind me, I am forced to conclude that the most reliable source of history is the literature written at any particular time in question and not necessarily the information that is enshrined between the leaves of a text book, not even journalism because in journalism facts can be modified to suit a purpose. 

S.A: What is your opinion on the argument that, in Africa you can't write with an empty stomach, which is a reference to people being poor and being pre-occupied with survival and not reading or writing?

S.M: For a writer, writing serves as a mental, psychological and spiritual therapy. To a certain extent it doesn’t matter whether you are hungry or not. Personally when I am entrenched in tough times I find this one of the best periods to write. A true writer gets addicted to writing. It goes for reading also. It could also be said that an avid scholar finds it hard to stop reading.

While growing up, through reading I travelled to various epochs and parts of the world with my mind and imagination. I can even now say that I have been to some parts of the world so many times in my mind through reading to the extent that I virtually have no interest to go there, if it’s my to satiate my curiosity.   

S.A: Do you feel that due to the similar political and economic situations across Africa, African writers might be similar in their thinking and hence their product might be similar as well?

S.M: You have left out the cultural aspect, which is perhaps the most fundamental. This is what makes all the difference. A writer or artist sees the world through the spectacles of his culture. Politics and the economy are simply shadows. You can further expand this point and say that politics is a third-dimensional shadow of economic realities. And the combination of politics and economy today based on unchecked and immoral competition are to a vast extent, suffocating Culture, which is the life-blood of literature.

Hence in most cases the writer finds himself struggling against the forces that plot to disintegrate culture through sadistic exploitation. Since this is applicable in most African countries, writers from across the continent have something in common here.

S.A: Overall, I would like you to tell me, if it is difficult to be a writer from Africa at the face of the tremendous sacrifices that African writers have to make? Do you feel angry that you have had to go through difficulties in order to pursue your writing, or do you think your writing is better as a result of your circumstances?

S.M: To begin with, it is difficult to be an African writer especially when you are not living in your country. Here we are looking at the factors of recognition and assistance. I am sure there is a load of classic works out there written by African writers that will never come to light because of financial constrains and other smaller obstacles that are pretty obvious and do not have to be listed here.

For your next question, I don’t particularly feel a sense of anger as a result of difficulties. There shouldn’t be any time for that. Yes often there are surges of emotions which if carefully recollected could be diffused or transferred to invent characters in the process of writing, with positive results. So a writer also learns to exploit his anger. It’s a part of the trade. This is not to say that it is that simple. Often I am left with a deep feeling of disappointment, which reminds me that I can expect too much only from myself.

For the last point you raised, sometimes you realise that a writer succeeds only in his writing to overcome difficulties he faces in reality. And if he is brave enough, these difficulties can affect his writing in a positive way. In line with this, it should be held in mind that a writer develops in the course of his life both as a result of his experiences and writing. This in turn leaves him with a high degree of discipline, self-confidence and character because in the course of interpreting his experiences, both real and surreal, the writer inevitably plays the role of a God on an imaginary scale when he creates characters and infuses them with live. Characters, which in the course of time, turn to inspire people everywhere, without geographical or cultural borders. 

S.A: Thank you very much for finding time for this interview. I wish you good luck in your writing.

S.M: The pleasure has been mine.

Comments

[Cyrille]

Molike,
this was an interesting interview. You once gave me your web page some seven years while i was in Germany but i misplaced it. Please could you send it to me via my mail as in maccyril@yahoo.co.uk.
Thanks

[godfrey tanku]

good interview. in light of current events, it is a blessing that you got out. jeff tanku