The bleakness and violence of life in modern Zimbabwe underpin this powerful coming-of-age tale, as thirteen-year-old Danny comes to understand critical truths about himself, his family and their milieu – and his country. His social observations and attempts to put to rest some of the painful questions surrounding the brutal event which lies at the heart of the novel offer an eye-opening look at life in another culture, and the tensions that lie behind the news headlines.
“I think what happened to us started the day I as out playing on the streets of our neighbourhood and accidentally pissed on the President’s face. I was a thirteen year old kid, skinny, lean-boned, full of shit.”
Where were you born, and where did you grow up? I was born in Harare, Zimbabwe and have lived here all my life.
What sorts of books were in your family home? As a family we belonged to a small municipal library up the road and every second Saturday, religiously, we would go to the library and browse books, make selections. I think this is where my love of books and reading was fostered, really. At home I always remember there being a great deal of Enid Blyton, Agatha Christie, Roald Dahl and Gerald Durrell, amongst others; some would have been library books; some we owned (or where perhaps “former” library books!). Plus there was this whole other unreachable top shelf of alluring paperbacks I suspected at the time were not intended for the eyes of a young, inquisitive boy. When I was finally old enough to reach that shelf, its contents were actually, on the face of it, quite disappointing. Except there was a copy of Lady Chatterley’s Lover, but I was such a pathetic loser as a kid I could never seem to find the bits that made it so notorious!Continue reading Interview | Ian Holding | Author of the Week
“Here at the window of the turret room, Lavren, at the sill of the Demerara window, Marie Elena behind him on her deathbed telling the last tales before the end of the world as bachac ants attack the rose bushes in Immaculata’s sunken garden, and woodlice eat their way through the pitchpine floorboards, and Josephine sits by the kitchen door shelling pigeon-peas: from this vantage point, Lavren can listen and write and tell the history of the New World.” So begins a hallucinatory Caribbean tale involving the imperialist land-grab, sexual anarchy, abandoned women, religious mania, “the destruction of the Amerindians, the enslavement of Africans and the indentureship of the Indians,” and culminating in self-rule and independence. “People were dreaming in the twilight barrack-rooms, in the kerosene-lit villages for the setting of the imperial sun.”
Caribbean-style magical realism
Lawrence Scott weaves a magical, lush tapestry of words and images, bringing alive local legends and family narratives; and redressing written histories. The impact of the events recounted still resonate in Caribbean society today. A quasi-historical novel, Witchbroom recounts the story of a colonial white enclave on an offshore island through muddled memories. The central narrator repeats what he remembers “from the distracted mind of his muse Marie Elena, and her art of telling stories while they eat Crix biscuits, rat cheese and guava jelly together in the turret room overlooking the Gulf of Sadness.” The stories are bewitching and highly disturbing. The reader surfs a tidal wave of addictive fascination like a Dickensian tricoteuse sitting beside the guillotine in Paris watching heads roll during the public executions of 1793-4.