In Summary
You must know him from his poems; ?An Elegy?, ?The Quilt of Giving? or ?I Beg You? from ?Poems from East Africa?, an anthology of poems edited by David Rubadiri and David Cook. Laban Erapu is Professor of Literature, Bishop Stuart University, Mbarara; an independent publishing consultant with East African Educational Publishers; and Managing Director/Chairman Designate with Creative Digital Productions Ltd, a new Film-making company. Beatrice Lamwaka spoke to him about his passion for writing.
How has your journey as a writer been like?
I started reading and writing at the age of seven. I used to compose love letters for the older boys who had realized that I had skills with words. Then, I didn?t attach value to my writing. While at Ntare School, I wrote poems that I cannot find. In 1963, I won the territorial English Essay Writing Competition organized by Brooke Bond and the Associated Tea Growers of East Africa.
The prize included books and an all-expenses paid trip to United Kingdom for me and my teacher in the company of similar parties from Kenya and Tanzania. I was the youngest in the group. For two weeks, we climbed mountains, we toured the United Kingdom and I had a wonderful time. This was the first time; I got something of monetary value for my writing. And it was the best gift for a senior four student who hadn?t travelled outside of Uganda.
I grew up writing poetry under the tutorship of Prof Timothy Wangusa; active writers club associated with David Rubadiri, Ali Mazrui, Henry Barlow, the late Prof David Cook and Margaret Macpherson that is when my skills were sharpened. While a student at Makerere University, I was the editor of Dhana Magazine and chief editor of the Makererean that is when I got interested in printing and publishing. Later, I was desk editor for The People Newspaper where I wrote lead articles.
In 1968, I won a Writing Competition for new writers sponsored by Oxford University Press. In addition to cash and book prizes for me and my school, the award also included the publication of my first novel, Restless Feet.
Soon after, I was awarded a Commonwealth Scholarship by the British Council to study for a Masters degree at Edinburgh University 1969-1971.
One of the great moments in my writing career was working with Ngugi Wa Thiong?o. As a reader of manuscript for Heinemann Educational Publishers, I read The Trial of Dedan Kimathi, Petals of Blood and I Will Marry When I Want which inspired me to write my PhD thesis on his writing.
Where do you get ideas to write your stories?
Stories create themselves and write themselves. The ideas come nearly complete. I see an opportunity to take an adventure. I have a clear picture of the beginning of the journey, clear picture of what it will take me through and where it will culminate the ending. Once I start, the story takes over my life. I am transported into the setting which I see in details. I am the invisible eye which sees the characters, hears them and lives with them as they take me through their stories.
At that point, I don?t know that milestone go as the story unfolds taking twists and turns that I never anticipated, sometimes I am taking me by surprise, sometimes making me nod in agreement. Sometimes, I am unaware of my existence of the story and I become a mere scribe that is transcribing a story that is not my own but my own characters. That goes on until the story is over and I become my own person. I talk about this as a kind of madness that I realise that to be a creative writer necessitate loosing oneself and surrendering entirely to that creative impact.
Where do you find time to write?
Most people say they have stories but they don?t have time to write.
I always find the time to write. I cannot let the opportunity I have go to waste. It is until I have finished writing a piece that I find time to do something else. The piece becomes a priority in my life.
Do you still write poetry?
Poetry is still alive with me; ?I Beg You? has since been re-written and forced me to issue a subsequent poem. Poems are part of my life and I look through them. They are not over 40 years old but rather part of my ongoing existence. Anyone who looks at my poems as old; would he regard Hamlet by Shakespeare as older? Characters in literature are timeless and ageless.
Which writers have influenced your writing?
I read extensively. I read all kinds of novels including thrillers. I don?t try to write like any writer. I write my stories as they come to me. The stories inform my writing level of perfection as other writers have. A writer must always aim for perfection. The writing must be convincing and worth reading. I must be honest with myself as a storyteller and avoid mediocrity.
What advice do you have for young Ugandan writers?
Writers should keep writing. Writing is a craft that need to be developed. Writers shouldn?t be deterred by reviewers and publishers, they should let their creative impulse lead on to more and more experiment in creative writing. Most writers who persist will eventually get published. Writing is one percent inspiration and 99 percent perspiration.
What kind of books do you read?
I read any kind of novel that comes my way. I have read a number of series based on the French Revolution, classics, American literature, West Indies and Caribbean literature, European literature among others. I have a deep background in literature. If a book was worth writing then it?s worth reading. Time is the only factor that prevents me from reading; otherwise, I would read all books.
What are you working on?
I am shooting a film script of my friend and my brother?s book, Song of Lawino by Okot p?Bitek. This is polyphony of voices and a representation of Acholi culture. I am looking for funding now.
What should be government?s role in this regard?
The government should create a supportive environment, assist in advertising in its publicity machines within tourism and support it financially in as basic a manner as in the salary of at least 2 of the key administrators (the Festival Director and the Marketing Manager) for they make the festival happen.
The government pours in millions to support the Tourist Board but no money to ZIFF which can actually show the Tsh I.5 billion we bring to the economy.
Are Africans enthusiastic about festivals?
Very much so. ZIFF reaches over 250,000 people. It is in the manner you package the event that will ensure local support. By creating a mzungu event in an African environment you will only ensure the demise of the colourful and creative energies of the local people and organisers.
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