Interview with
Peter Okonkwo
Author of
The interview questions were submitted by Godwin Nket, a reviewer.
At the heart of Kwame, Come Home is the theme of grief. The sorrow of a mother occasioned by the sudden disappearance of her son. This theme has become a motif in your collections, particularly Fate, in the Dungeon of Doom and, now, KCH. Is it a deliberate subject matter you choose to write about because it pervades mainstream contemporary African poems, or is there something you intend to reveal to your reader about grief in Africa, and what is that thing?
This is an amazing question. The story of Kwame actually began in Fate in the Dungeon of Doom back in 2020. At that time, it was published as one of the scattered poems included in that collection. However, something within me wanted to develop Kwame’s story further. I felt there was so much more to explore, and that was why I decided to create a separate book entirely for Kwame Come Home, so I could properly tell not only Kwame’s story but also the stories of his mother, Vanessa, Etean, his friend, and others connected to his journey.
That was what led to the creation of Kwame Come Home. However, the story is not even complete yet. There is still another installment to come, which will be like the finished version of the book. So, this current work is essentially the first volume in a larger series.
The grief and sorrow of a mother, particularly that of Vanessa, are deeply universal. I believe many African women who have experienced similar circumstances would understand, empathize with, and resonate strongly with her pain. I have received responses from readers across different African countries—not just Nigeria—who have told me, “This story reminds me of my own experience,” or “It reminds me of my mother.”
And I think that is truly powerful. It shows that the story of disappearance and migration is not merely my personal perspective but a reality experienced by thousands or maybe millions of people across the world. I love reading reviews that remind me I am not only carrying Vanessa’s grief but also telling the stories of countless others who have been separated from their homes, their families, and their lands in search of greener pastures.
I find the immigration escapades in the collection quite interesting. Please, can you briefly share how this reflects a fragment of post-independent Africa? I would also like to know: at what point does a family’s personal grief over the loss of a relative to the road reflect a collective grief over a continent’s failure to provide economic safety to its citizens, and how people react to these losses?
Thank you for that thoughtful question. The immigration journeys in Kwame Come Home are intended to reflect one aspect of post-independence Africa's complex reality. Political independence brought hope, but for many people, economic opportunities, stable institutions, and social mobility have remained uneven. As a result, migration—whether within Africa or beyond it—has become both a survival strategy and a pursuit of possibility. The characters' journeys are therefore not simply individual adventures; they echo the experiences of countless Africans who leave home carrying both hope and uncertainty.
Regarding grief, I believe there is a point where a family's personal loss becomes part of a larger collective sorrow. When deaths occur repeatedly along migration routes, they stop being isolated tragedies and begin to reveal deeper structural problems. A family mourns a son, daughter, sibling, or parent, but communities often recognize that the loss is tied to broader conditions that pushed that person to take dangerous risks in the first place.
In that sense, the grief is both private and public. It is the pain of losing a loved one, but it is also a reflection on unmet promises, limited opportunities, and the difficult choices many people face. People's reactions often reflect this dual reality: there is mourning and remembrance, but also resilience, frustration, and sometimes a questioning of the social and economic circumstances that made such journeys seem necessary. Through these stories, I wanted to explore how individual lives are shaped by larger historical and economic forces, while still honoring the deeply human experiences at the heart of those losses.
In your collection, Vanessa is Igbo (or is married to an Igbo), yet she offers sacrifices to Yoruba gods instead of Igbo gods. This presents a disparity with the ethno-religious reality of Nigeria. How does this narrative disparity present authentic sociological background of your character; or is it an attempt to present an alternative to the ethno-religious sentiment in Nigeria, where an Igbo (or someone married to an Igbo) can worship Yoruba gods instead of (their) Igbo gods?
This is another thoughtful question. I must first clarify that Vanessa herself is Yoruba, although she is married to an Igbo man. She was born in Yorubaland, and both of her parents are Yoruba, while her husband, Chibuike, is from Imo State in southeastern Nigeria.
Therefore, when she sought spiritual intervention, she offered sacrifices to the Yoruba deities she was familiar with—to Ogun, Sango, the god of thunder; Osanyin, the one-eyed, one-legged deity associated with healing herbs; Obatala; and Yemoja, through rituals involving rivers, herbal mixtures, and traditional practices. This was in contrast to consulting Igbo deities such as Amadioha and others.
However, I am not trying to create any form of ethnic or religious disparity within the Nigerian context, nor am I suggesting that one deity is stronger than another. In fact, as portrayed in the book, none of these deities necessarily provided Vanessa with the answers or healing she desperately sought.
Vanessa’s actions were driven by the depth of her grief, sorrow, and personal tragedy. She is a devoted Christian, and turning away from her Christian faith to consult these deities was a significant and painful decision for her. She sought out the gods that were accessible to her—those whose language, rituals, and traditions she understood and believed could offer an immediate response to her suffering.
I particularly appreciate the aspect of your question that explores how this cultural and religious complexity contributes to the authenticity of the character’s sociological background. Vanessa is a Yoruba woman married into an Igbo family, and her choices are shaped by that personal history rather than any attempt to promote ethnic or religious sentiment.
To be honest, I never anticipated this particular angle of interpretation, so I find your question both fascinating and refreshing. It genuinely makes me smile, and I must say that these are truly beautiful and deeply engaging questions.
Most times, when we discourse immigrant experiences, especially among young Africans fleeing the continent in quest for greener pastures in Europe, we hardly pay significant attention to the effect those choices have on family members, parents, siblings, especially when, like Kwame, they leave without saying goodbye. How does Vanessa’s experience evoke these often-unvoiced predicaments of parents and loved ones over the loss of relatives to forced migration?
Thank you so much for this question and for bringing attention to this important aspect of the story. I think one of the things that is often overlooked when discussing illegal migration is the misery and emotional suffering experienced by the families of those who embark on such journeys. We often focus on the individuals who leave—the hardships they endure, the dangers they face, and the struggles they encounter—but we sometimes forget the pain of those they leave behind.
Families are left with endless questions: Where is their brother? Where is their son, husband, wife, or child? Are they safe? Are they alive? Will they ever return home? It is this unbearable uncertainty and longing that I sought to portray through Vanessa’s voice and her desperate desire to have her beloved son back.
Everyone who embarks on these dangerous journeys goes through immense suffering, pain, and endurance. We often see heartbreaking stories in the news of migrants who lose their lives at sea, including mothers traveling with their babies on overcrowded boats. Many people look at such stories and ask, “Why would a mother put her child through such danger?” But they often fail to consider the circumstances that led her to make such a desperate decision. Many mothers choose to take their children along because they cannot bear the thought of leaving them behind.
What we also forget is that these migrants have families too. The woman carrying a child on that boat has a mother, a father, siblings, and loved ones who care deeply about her. In many cases, migrants do not even tell their families where they are going. Some, like Jide, tell their loved ones that they are simply going away to find a job. Others say they are relocating, concealing the true nature of their journey.
There is a profound pain in not knowing whether you will ever see your loved one again—whether they will survive the journey, return home, or become trapped in an uncertain existence elsewhere. Some arrive at their destinations only to become refugees, moving from one country to another, struggling to settle, living in fear of being discovered, and constantly seeking safety and acceptance.
Migration, especially when it occurs under such desperate circumstances, carries many layers of pain. There is the suffering of the person who leaves and the equally devastating suffering of the family members who remain behind. And I so much try my best to paint that through Vanessa's dire lamentation and this is one of the ways Vanessa's experience evokes this often unvoiced predicament of parents, loved ones and friends over the loss of relative to forced migration.
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Interview with
Pamela Reitman
Author of
Charlotte Salomon Paints her Life
Today I have the pleasure to present an award-winning writer who has numerous publications in literary journals, news outlets, and magazines. Pamela Reitman wrote a fascinating novel, Charlotte Salomon Paints Her Life, that won literary acclaim: “A gorgeous, haunting portrait of a willful young Jewish woman who paints to save her life, to remember everything in images and words, as Nazi jackboots approach.”
Who was Charlotte Salomon?
She was a young German-Jewish art student at the Berlin Fine Art Academy. In 1938 her position there was annulled because she was a Jew. She was then exiled on the Côte d’Azur, where she lived and painted, alone and without identity papers, haunted by a legacy of familial suicides, and on the brink of madness—as she navigated her way under the encroaching terror of the Third Reich. She was determined to become a serious modernist and complete her monumental work, “Life? Or Theater?” Then, Charlotte risked her life to guarantee its survival before being captured by the Nazis and murdered in Auschwitz.
Why did you choose to write about her?
I was visiting the Contemporary Jewish Museum in San Francisco . . . this was 2012 . . . where there was an exhibit of paintings by Charlotte Salomon from her masterpiece, “Life? Or Theater?” On display were 250 or so of the 769 (in total) watercolor/gouache paintings, telling the story of a coming-of-age during Hitler’s rise to power and a coming-to-terms with a legacy of female suicide. Her paintings delivered an emotional punch. Her story was heart-wrenching and inspiring. What she achieved under dire circumstances was miraculous. I stood there in the middle of the exhibition with patrons swirling about me, and I felt almost like a little tap on my shoulder, followed by a sense of becoming inhabited. Although I knew right then I needed to bring her to life in literature, I did not choose her. Charlotte chose me.
I was born to Jewish parents. When I was sixteen, I heard these words: six million. I wanted to understand the Holocaust, and I never could because, as I learned, what had happened was beyond comprehension. Even though there were no survivors in my family that I knew of, I considered myself a remnant of Eastern European Jewry. Then, in my 50’s, I realized that though I could not understand, I began to feel compelled to respond. When I encountered Charlotte’s Salomon’s work, as I just described, that moment in the museum resonated with my sixteen-year-old self and with the part of me that longed to respond. And so, I wrote Charlotte Salomon Paints Her Life.
Why is your book important?
For many reasons, I’m proud to say. The most obvious is that it brings Charlotte’s story into the consciousness of contemporary readers. It gives her new life. Secondly, it leads people to view her paintings.
I know many readers who have looked up “Life? Or Theater?” on the internet and have been able to really appreciate her achievement firsthand. Thirdly, by painting the bone truth of who she was into the monumental masterpiece entitled “Life? Or Theater?, revealing her family secrets, then risking her life to ensure her legacy, Charlotte Salomon prevailed over the Nazis and thwarted their will to reduce her to a nonentity. And that is an astonishing accomplishment! The foresight it took for her to make sure that her work would live on and the courage she exemplified are truly inspirational, and that alone makes the book one that offers a great deal of hope. Finally, this is not historical fiction that stays in the past. It comes forward. In fact, I wrote the epilogue, to take place in 2017, precisely to highlight lessons for the contemporary reader: the unfolding of fascism in Germany and France is not unlike what we are experiencing in this country, unfortunately, today. Foreign nationals were rounded up in France when the Vichy regime came to power: Gurs Camp is not unlike our new detention centers. Fourthly (I think we’re up to four), I would say, the book is important because it teaches so much.
How many people know about the fate of the Jews in Vichy France? I wanted to show how it affected the life of one person and how she resisted. Finally, the book does not end in Auschwitz, but there is an Author’s Note that describes Charlotte Salomon’s fate, which is important because the horror people feel when they find that out (or even if they already know it), that horror expresses a sense of all that was lost with her murder. It promotes deep thought about all the additional works of art that she might have created, not to mention her progeny’s gifts. And not just what was lost to us by Charlotte’s murder but the murder of each and every young person at the beginning of their lives. And of course, then all of the six million worlds that were lost. It’s important because it asks us to come to terms again with the horrific event of the Holocaust, to remember it and never forget.
What is Charlotte Salomon’s legacy? How is she known?
Her work found a home in the Jewish Historical Museum of Amsterdam. It has been performed as an operetta, a theater piece, a ballet, and a full-scale opera that débuted in Salzberg. There is also a hefty coffee table book that contains all the paintings in “Life” Or Theater?” And you can also view them online, here.
How can I learn more about Charlotte Salomon?
I would like your audience to know that I have a program entitled “Survival Through Art: The Life and Work of Charlotte Salomon,” a Power Point presentation with full-color paintings by the artist and photos of Charlotte’s family and friends. This program focuses on how the creative force, the making of her masterpiece “Life? Or Theater?,” transformed the many traumas of Charlotte’s young life and saved her from suicide. It celebrates her courage to create under dire circumstances, and to risk her life to ensure her legacy. This is an in-person presentation. To book this program, contact me through my website.
I also am available for Q&A sessions with book groups, both in-person or on zoom. Again, to book, contact me through my website.
What have the reviewers said?
About the Novel, Charlotte Salomon Paints Her Life: “Reitman’s re-creation of Salomon’s life is composed of two opposing themes: art as a tool to interpret trauma, and the intractable tentacles of family secrets and shame that threaten to choke artistic expression. Blending fact with fiction, the novel is a touching synthesis that celebrates Charlotte’s fearless belief that only in art can one defy ‘the erasure of identity.’” – Peggy Kurkowski, Foreword Reviews
About the Power Point Program, “Survival Through Art: The Life and Work of Charlotte Salomon”: “Wonderful and informative, depicting the relationship of Salomon's art to her life, and conveying the powerful role of creative expression amidst adversity.” – Howard Freedman, Director, Jewish Community Library
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Interview with
Dawn Colclasure Wilson
Author of
What can you tell us about your poetry book, The House That Madness Built?
The poem at the beginning of this book shares how I became a burn survivor and my mother became an amputee. There are also poems about the abuse we endured at the hands of my father as well as how I went through a phase of self-harm. My first use of a knife against my skin was in a suicide attempt but there were other times I ran the blade against my skin, entertaining ideas of cutting deeper. This stemmed from the many years of suicide ideation and self-hatred that I went through. I didn't like who I was or the life I was living. The poems also explore some of the traumas I endured and how they warped my perceptions of reality. I went through a very dark time in life because of the things that happened and there are poems in the book which share those dark moments as well.
Why did you choose this title for the book and what does it represent?
The “house” in the book’s title basically represents the family I grew up in. I cannot say there was any one house that we lived in because we moved around a lot and I grew up in many different houses, but it’s more about the family that molded me into the type of person I became. Even as an adult living independently, I still struggled with my trauma. I was an alcoholic for a very long time. But I did eventually heal from it all and I did eventually beat my addiction. I also eventually learned how to love and accept myself. So the house in the title poem is abandoned and dilapidated because they are all just memories now and I no longer live in that house that ultimately represents my past.
How can using poetry help people to write about their trauma?
Poetry is definitely one way for me to write about trauma, but it may not work for everyone. Some people feel more comfortable writing about trauma in a journal, but that was too much for me. My trauma does tend to slip into my fiction, but it’s mostly expressed through my poetry. When we write about our trauma in poetry, we don’t have to go too deeply into what we experience. We don’t need to elaborate or give too much detail. At the same time, however, we can elect to express our emotions and feelings in the most raw and unfiltered way possible. The decision on whether to keep these poems private allows us to be open about how we process our trauma. I have no qualms about sharing everything from my life with readers, so I chose to share the poems I wrote as a result of my trauma.
Would you like to share a poem from this book?
Here is the poem “Memories”:
Memories dance through my mind
of all that I must throw away.
“You’re stupid!” and “Shut up,”
was what Daddy used to say.
And then there was the time
I’d tried to run away.
But I saw my father in the window
and changed my mind to stay.
Erasing the times that I was hit,
especially with that shoe.
Being blamed for the wrong things
my siblings would often do.
Couldn’t go out at night
because of the time I was almost shot.
What had happened that one night when I lived on my own,
a crime that scarred me an awful lot.
All memories from long ago,
a chapter of my life that must disappear.
I can’t move on carrying pains from my past.
I must wipe my slate all clear.
What’s your favorite quote?
"I can bear anything as long as there are books.” – Jo Walton, Among Others
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Interview with
Suzanne Baginskie
Author of
Today I have the pleasure to present the award-winning author of the FBI Affair Series. Five books of mystery, suspense and romance set across her home state of Florida. A retired office manager/paralegal, Suzanne Baginskie brings authenticity to her crime stories. She loves traveling, especially on cruise ships. Most sea days on board, you’ll find her plotting stories outside on the deck while gazing at the beautiful blue ocean.
Please tell us what book you are introducing today?
I’m featuring Dangerous Triangle, the fifth installment in my series. The story is set in Tampa, Florida, at the local FBI Bureau, just about forty minutes from my hometown. Tampa is a rapidly growing Gulf Coast city known for its sunny climate, diverse economy, and rich cultural history, including the historic Ybor City district. Visitors are drawn to attractions like the scenic Riverwalk along the Hillsborough River, as well as its vibrant nightlife and iconic Cuban sandwich, which dates back to the cigar factory era of the late 1800’s.
While Tampa continues to thrive, certain violent crimes remain a concern, which provides the backdrop for my novel. In Dangerous Triangle, my FBI Special Agents work within the Cybercrime, Human Trafficking, and Violent Death Unit. The story unfolds as a gripping, high-stakes investigation that spans a decade, weaving together a serial killer case, cybercrime, and a looming terrorist plot, forming a chilling three-sided web of danger.
Why did you decide to write a series with FBI characters instead of using the local police as other authors have?
I’ve always been drawn to strong FBI characters, particularly female agents and their dynamic partnerships with their male counterparts. FBI agents operate on a national level, often tackling complex, high-risk cases that naturally lend themselves to suspenseful storytelling. What makes them especially compelling to me is the balance between their professional duties and personal lives. My characters face intense, life-threatening situations, yet they also deal with relatable family and emotional challenges. Before each mission, they are required to sign an agreement prohibiting romantic involvement, as it could compromise the case. Of course, emotions aren’t so easily controlled. That tension adds another layer of conflict, as they strive to remain professional while navigating their feelings. Ultimately, their mission comes first, but they find ways to reconcile their personal lives once the case is resolved.
How do you come up with character names?
When creating character names, I look for combinations that feel strong, memorable, and fitting for federal agents. Since my series features both a female and male lead, I like their names to complement each other in a way that readers will remember. In Dangerous Triangle, for example, I chose the last names London and Monroe because they felt distinctive and worked well together. I also draw inspiration from an old baby name book I picked up at a garage sale. It includes meanings, origins, and derivations for thousands of names, which can be incredibly helpful. Sometimes, selecting a name with a meaning that reflects a character’s personality or role in the story adds an extra layer of depth.
What is the best marketing advice you have for a new writer?
Once your book is written and published, the real challenge begins, “marketing.” Many authors struggle with how to get their work noticed beyond social media, which can only take you so far. One strategy that worked well for me was tying my books to a specific location, such as my home state of Florida. I discovered that “location equals marketing.” Readers are naturally drawn to stories set in places they recognize or feel connected to.
I also began participating in local craft shows and farmers markets. As a local author, I set up a table and engaged directly with potential readers. At first, simply describing my books as mystery and suspense didn’t always spark interest. But when I mentioned that my stories were set in Florida, people became more curious. They would ask about the towns, browse more carefully, and often purchase one book or even the entire series. Offering signed copies also made a difference. In-person events create a personal connection, and many readers genuinely enjoy supporting local authors. For me, combining location-based storytelling with face-to-face interaction has been one of the most effective marketing approaches.
Please give us a look at Dangerous Triangle:
PROLOGUE
Tampa, Florida – July 4, 2022
ON A TYPICAL JULY 4th in Tampa, most patriotic people celebrated by donning their red, white, and blue. They hosted barbecues with family and friends, and right before dusk many drove to Julian B. Lane Riverfront Park for the annual firework festivities. In preparation for the special event, city workers spent two full days mowing the grounds. Tonight, the evening breeze carried the summer’s sultry air blended with the fresh scent of cut grass. The famous Boom by the Bay celebration held on Hillsborough River’s shoreline always attracted a larger crowd. A multitude of people had gathered alongside the river, their lawn chairs, coolers, and ground blankets now spanning the Tampa horizon. Conversations buzzed and were somewhat soothing. Everyone compelled to be here waited patiently as the fogged-gray summer sunlight gradually darkened for the promised fireworks display. None of them expected a murder would happen there in the wee hours after midnight.
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Much thanks, Uvi, for your feature of my book today! So appreciated! ox
ReplyDeleteMy pleasure Sarah! Can't wait to read it :)
DeleteThank you so much for this opportunity, Uvi. The presentation looks fantastic, too.
ReplyDelete