WORK/Life: Antjie Krog

Antjie Krog by Antonia Steyn

Antjie Krog is the author of the Alan Paton Award-winning Country of My Skull and A Change of Tongue. Her first poetry collection, Dogter van Jefta, was published when she was aged 18; other collections include Mede-wete / Synapse and The Stars say ‘tsau’. The English edition of Lady Anne, a collection first released in Afrikaans in 1989, was recently published by Human & Rousseau in collaboration with Bucknell University Press.

Krog has been an extraordinary Professor of Literature and Philosophy at the University of the Western Cape since 2004.

What does “writing” mean?

Writing, for me, means to attempt to say the unsayable.

Which books changed your life?

I don’t read books that do not change my life. I expect of every novel or poetry volume to shift something in me so that I am a different person by the end of it.

Your favourite fictional character?

Petrus in Disgrace and maybe a real character such as Teboho Raboko who shouts in his Sefela: “Hail you, fire-speckled giraffe, Hail you quinea fowl, with water tearing upwards from your head.” And in Afrikaans, a character by Eugene Marais: My vaal sussie Gampta, “al wat ek in die wêreld het, buiten my ou ouma.”

What are you working on at the moment?

I try to return to poems. Just single individual and not-thought-about poems.

Describe your workspace.

I write poetry, or the beginning of poems on my bed. They are reworked on paper until they move to the computer. I only got a “study” with a surface exclusively for a laptop and dictionaries when I was around 47-years-old.

The most important instrument you use?

Pencil. Sharp. HB. A4 paper and a Pelikan rubber. That’s for poetry. For non-fiction: laptop and a good chair.

What’s your most productive time of day?

Half-past-four in the morning, for non-fiction. Poetry is like a big shit. It comes when it wants. If you squeeze it back, it will be hard and dry. So you must have “endless” time…

What do you do when you’re stuck, or not feeling creative?

I once read that a writer’s block has to do with ego, so I work on the ego.

What’s the hardest thing about writing?

To sit down. To lift the pencil over the white empty page. To allow it to be a fishingrod lined into the unconscious, touching and lifting out shimmering fishes from below, fitted out to say what you try to say. The hardest thing about being a poet is that you don’t know when it will leave you – just one morning, and it’s gone, that heard-voice coming from you don’t know where. Gone. And as far as I can make out: it never returns.

What advice would you give to people starting out in a writing career?

I have no advice for younger poets in this technological age – coming from a time where the poem was what mattered, not the poet, her looks, her recipes, her relaxation methods, her self-doubt, his marriages, his Facebook page, agent or public utterances. That is why I didn’t answer some of your questions, those that I thought: jesus, what the fuck?

[Editor’s note: Those questions unanswered included “What do you dislike most about yourself?, “What are you afraid of?”, “What’s the best piece of advice you’ve been given?” and “How do you relax?”]

Lady Anne is published by Human & Rousseau.

Author photograph by Antonia Steyn.

WORK/LIFE: Fred Khumalo

Fred Khumalo

Fred Khumalo completed his MA in creative writing from Wits University with distinction and is the recipient of a Nieman Fellowship from Harvard University. His writing has appeared in various publications, including the Sunday Times, the Toronto Star, New African magazine, the Sowetan and Isolezwe. His books include Bitches Brew, Seven Steps to Heaven and Touch My Blood. His most recent book, Dancing the Death Drill, about the sinking of the SS Mendi troop ship during World War 1, was published earlier this year.

What does “writing” mean?

To paraphrase Emile Zola, writing, like any work of art, is a picture of the world, or a corner of it, distorted, coloured, arranged by the personality of the artist.

Which book changed your life?

Too many: Inkinsela yaseMgungundlovu by Sibusiso Nyembezi; Grapes of Wrath; Cry the Beloved Country; Things Fall Apart; and many others – each one of them opened a new window into the world, thus changing my life.

Your favourite fictional character?

Easy Rawlins (created by Walter Mosley for his detective series

What are you working on at the moment?

Working on a Zulu language version of the story of the sinking of the SS Mendi. Not a direct translation of Dancing the Death Drill, but a totally new book, featuring some of the Drill characters, but re-imagined from the perspective of another country, who happens to be Zulu speaking.

Describe your workspace.

It’s a five by four metre office on the west-wing of the top floor of my house. I have two huge windows – one which gives me a few of the neighbour’s yard, and the other which gives me the view of the street outside my house, including the townhouse complex opposite. In my office I have a bookshelf which contains CDs and mostly reference books for a project that I would be working on. These books change with each project.

The most important instrument you use?

My trusty old Lenovo, six years old now. And a pile of notebooks.

What’s your most productive time of day?

Mostly around 5 o’clock before everyone is up. And also around noon when they are all at school or work, and the auntie who cleans is not playing her irritating cellphone music. I can’t make her stop playing her music, cos I also play my music every now and then, for inspiration.

What do you do when you’re stuck, or not feeling creative?

I always make a point of working on more than one project at a time. When I am stick with my, say, fiction, I change gears and work on a piece of journalism or some other non-fiction. I don’t wait for inspiration. I write every day – even if it’s unpublishable rubbish.

How do you relax?

I listen to both live and recorded jazz, and other music. And I go out to friends – we have sessions with the ubiquitous brown and green bottles.

What’s the best piece of advice you’ve been given?

Don’t be modest, you’re not famous. Keep promoting your work and your interests.

Your favourite ritual?

Still in my pyjamas, I start my computer. While it’s booting I go and brush my teeth, then go downstairs to the kitchen to get coffee. By the time I get back to the office, the computer is ready. I start with my emails. Sometimes an idea is so pressing and compulsive I go straight to jotting it down, before I read my emails.

What’s the hardest thing about writing?

Finding enough time to turn the ideas I have into a piece of writing.

What do you dislike most about yourself?

I’m not a tough negotiator with publishers and editors (watch out, you scoundrels, I am working on that muscle).

What are you afraid of?

Waking up to discover I can’t write any longer. When Baruch Hirson, the historian of the South African left wing fell ill, he told his son Denis: “I cannot think if I cannot write”. That sums up my reality: I cannot think if I cannot write.

What advice would you give to people starting out in a writing career?

Read, read, and read across all genres. Also: try to write every day. The writing muscle, like the soccer-playing muscle, doesn’t grow of its own volition. It needs to be nurtured, to be pushed, sometimes. A successful writer is one who doesn’t wait for inspiration, I have found. DON’T BE AFRAID OF REJECTION. In the early stages of your career it is GUARANTEED. From editors, publishers, literary agents, and literary critics

What’s the thing you’re proudest of doing?

Having written Dancing the Death Drill – despite all the fears and concerns about how it might be received by both critics and readers.

Dancing the Death Drill is published by Umuzi.

Author photograph by Joanne Olivier ©.

WORK/LIFE: Chris Riddell

Chris Riddell, the 2015-2017 UK Children’s Laureate, is an accomplished artist and author, as well as the political cartoonist for the Observer. His books have won a number of major prizes, including the 2001, 2004 and 2016 CILIP Kate Greenaway Medals. Goth Girl and the Ghost of a Mouse won the Costa Children’s Book Award 2013. He lives in Brighton with his family.

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Ottoline and the Purple Fox is published by Macmillan Children’s Books.

WORK/LIFE: Craig Higginson

Craig Higginson

Craig Higginson is an internationally acclaimed writer and theatre director. His novels include Last Summer (2010) and The Landscape Painter (2014) which, like 2015’s The Dream House, won the UJ Prize for South African Literature in English. His published plays include Dream of the Dog, The Girl in the Yellow Dress, The Jungle Book and Little Foot.

What does “writing” mean?

There are many kinds of writing – and you are a different kind of writer for each of these activities – like playing a range of musical instruments. But when I call myself a writer I am talking about the real activity – the one that ignites me in a place that no other activity does. When I’m writing for TV, I am writing my way into something outside of me – helping it along the way with a word or two of support or encouragement. But when I sit down to try and follow my own internal wood grain – which is as specific and un-chosen and unique as an internal thumbprint – then I am writing in the true sense. This kind of writing is about trying to fit untested language into an untested situation. You are going in the opposite direction of the already-written (which is the direction so much TV writing in South Africa tends to go in). Of course, most writing as a writer is an act of rewriting – of working through another draft, of going down a pathway you have already travelled before. But each draft is a new journey and the landscape around you has always shifted, so there are always new and surprising things to be found along the way.

What book changed your life?

It sounds pretentious, but Ulysses made me think I could be a novelist instead of a poet. Or, more specifically, that a novel can be a great poem. That some of our greatest poems are not, in fact, going as poems, but are novels – and are symphonic, narrative-driven prose poems.

What are you working on at the moment?

An adaptation of John le Carre’s novel The Mission Song for two UK-based production companies.

Describe your workspace.

It’s a little room that extends off our bedroom. It’s elevated above the ground and has light coming in from three sides and wooden shutters separating me from the bedroom. I have started painting again so there are two desks – one for writing and one for painting.

Craig Higginson

The most important instrument you use?

My computer, I suppose. I also have a lamp next to my computer and the first thing I do when I sit down to write is switch it on. I switch it off when I’m done. It’s only ever on when I’m writing. These small rituals help to give one a sense of structure – without which the act of writing might appear too frightening – like a boat in a dark sea with no paddle.

What’s your most productive time of day?

The morning – when I’m still fresh. I have about 45 minutes of gold dust in me each new day – and if I write straight after dropping my daughter off at school I can use it – and transmute it. But if something gets in the way first, if I sit down a bit later, I find the gold dust is often gone. If I try to carry on with my novel or poem in these circumstances, I am in danger of sounding or feeling like just anyone else.

What do you do when you’re stuck, or not feeling creative?

We usually get stuck when we don’t know what story we are telling. I don’t force things. If I’m tired or disconnected I do something else. I aim to write for an hour or so each morning but I often fail at it. But I try again and – to quote Beckett – I try to fail better.

How do you relax?

I watch TV series, I drink wine or whisky, I walk, I go to the gym, I try to sleep for at least seven hours – but I never quite relax.

Who and what has influenced your work?

The worst things that happen to me – and the least happy things I have experienced in my life – often get made into a novel or a play – even if indirectly. I write in order to survive, to make sense of things that have felt senseless – that have, at their worst, made me want to be dead. I use these places to start something afresh – like the first leaves after a veld fire. They are brighter and softer and have more space to grow thanks to the devastation that has passed through there not long before. But as Bernice Rubens once said to me: You must write with yesterday’s blood. So I am influenced by my own life and the lives around me – and I have wanted to push light back into those places that have grown – or are growing – dark.

What’s the best piece of advice you’ve been given?

Peter Shaffer said he wrote first and researched later. In other words: give yourself the opportunity to imagine before concerning yourself too much with what other people have imagined.

Your favourite ritual?

Switching on that lamp.

What’s the hardest thing about writing?

How long do you have? I suppose the hardest thing about it is protecting it – making sure that nothing else comes in the way of it. There are a thousand forces inside you and all around you constantly encouraging you not to do it, to do something else – something easier, something more urgent.

What do you dislike most about yourself?

I am all about middle spaces so it’s always hard for me to isolate one thing above anything else. I also think there are many versions of me – and some I dislike more than others. I find it impossible to watch myself on video or hear myself talk in public. I think: Who is that awkward man with the large staring eyes and indeterminate accent? Who does he think he’s speaking to and why does he imagine they’re listening? I prefer my private selves to my public ones – as I have the illusion that I have more say over who those selves might be.

What are you afraid of?

Dying before I have written a good book. Dying before my daughter is grown up and able to look after herself. Dying before I’m dead. The third is especially difficult to achieve: to keep yourself open to the world, experiencing things as if for the first time. It’s perhaps difficult because you have to keep doing it, refreshing it, re-inventing yourself each time in order to encounter yourself. We run out of selves, we use them up too quickly when we’re young – and then we have to do what we can with the selves that are left to us, which grow heavy, and weigh us down with their aches and pains and their difficult questions.

What advice would you give to people starting out in a writing career?

Not to listen to the advice of those who have come before. Each person must bash through their own bundu and discover their own landscapes.

What’s the thing you’re proudest of doing?

Not giving up.

The Dream House is published by Picador Africa. Read our review here