When Chimamanda Ngozi Adichie described Chukwuebuka Ibeh’s writing as “wonderfully observant and beautiful”, she drew attention to the young writer, who is 23. At 18, he wrote a short story, which made an editor get in touch with him and also got him an agent. Now, Ibeh, a student on a fully funded MFA programme at Washington University in St. Louis, Missouri, United States has international book deals for his debut novel, ‘Blessings’. In this interview with United States Bureau Chief OLUKOREDE YISHAU, Ibeh discusses the novel, writing, African literature and his literary influences. Excerpts:
Congrats on ‘Blessings’. When did you realise you wanted to write?
I don’t know that I had an exact moment of epiphany, to tell you the truth, but I do recall writing these overly dramatic plays in secondary school that my dear uncle, bless his heart, wouldn’t stop boasting about to his friends. I knew I wanted to see him express that gusto always.
What sort of preparations did you have to get to this stage of your writing career?
I don’t know about preparations, so to speak. My writing isn’t a conscious process. I think it’s more reactionary – I happen to read so much, and, as a result, write. To write this novel, however, I was holed up in my campus apartment at the height of the pandemic, unplugged from social media (so much that I had friends calling to check if I was alive), writing nearly from morning till evening.
How did you conceive the idea for ‘Blessings’?
Part of my education as a teenager was in a boarding school. It occurred to me a few years ago that I haven’t quite read much literature set in a boarding school, which is strange when you think of it because boy the stories that abound!
How long did it take you to write?
About two years. The first chapter was probably written in early 2020 and completed last year.
Is ‘Blessings’ your first full manuscript?
It is.
Aside attending Chimamanda’s workshop, what other support have you had from her?
There is, primarily, the inspiration; I read Purple Hibiscus as a teenager and knew I wanted to try and make people feel the same way the book made me feel. More concretely, perhaps, would be that I got my first ‘major’ publication in a respected literary magazine in the US as a direct result of the workshop. This in addition to varied support that I’m not quite sure is in my place to publicly share just yet.
What is your writing process like?
I used to have one – and I miss having one. Now I just write whenever I’m able to sit myself down in front of a computer. Or when I have a strict deadline.
What books and authors have shaped your writing?
It’s a long list, but if I had to narrow it down, it always comes down to Cyprian Ekwensi, Buchi Emecheta, Chimamanda Adichie, Jhumpa Lahiri, Anne Tyler and Raymond Carver.
There have been arguments for and against MFA. What is your position on MFA?
It’s the same as everyone’s – take the opportunity if you can. But don’t sweat it if you don’t want it or can’t get it. You’re no less of a writer in any form. I’ll add though that I really love my programme.
What are the ingredients of a good writing?
I think different things work for different people (it’s one of the things you learn in an MFA!). For me, I’m always on board with a good, coherent plot, clear, concise language, reasonable pacing, and characters that seem real to me.
What defines a good writer?
My answer to this question changes depending on the season. Lately, it’s anyone who’s able to get the writing done, to begin with.
Do you believe in art for art sake or art for social change?
It definitely can be a bit of both, no?
Do you think African writing is taking its slot at the global stage?
I do actually, and it’s such a joy to behold! So much hard work put in over the years by our forebears and how lucky are we to witness the fruits?
Do you agree with those who think Western publishers/editors are not equipped to properly edit African novels because of cultural differences?
No. At its core, literature, after all, is about the human condition and experience. And despite many arguments to the contrary, my feeling is that we are much more similar than we are different and any decent human being should be able to get that. Besides, cultural differences or not, I wouldn’t underestimate the abilities of a good editor who’s willing to listen and learn, be they Western or African.
There is this debate about African literature dying. What do you think?
I think, as always, the question to begin with is: What is African literature?
What books will you recommend for summer reading?
I’ve been reading – and loving – ‘The Underground Railroad’ by Colson Whitehead. Before that was Love after Love by Ingrid Persaud, which was such a heartbreaking delight. And you would very likely find me randomly talking to someone about Arinze Ifeakandu’s simply stunning collection ‘God’s Children Are Little Broken Things’.
Where do you foresee ‘Blessings’ taking you?
I honestly don’t like to jinx it by thinking too much about it. I enjoy the feeling of waking up in the morning to yet another surprise.
Finally, describe the way you felt when ‘Blessings’ got the international book deals?
To find a publisher for the book in the language it was written was one kind of high. To be able to introduce the book to readers around the world through a language I don’t even speak myself? Now that’s a Blessing.
