Death of the Author by Nnedi Okorafor
Disabled, disinclined to marry, and more interested in writing than a lucrative career in medicine or law, Zelu has always felt like the outcast of her large Nigerian family. Then her life is upended when, in the middle of her sister's lavish Caribbean wedding, she's unceremoniously fired from her university job and, to add insult to injury, her novel is rejected by yet another publisher. With her career and dreams crushed in one fell swoop, she decides to write something just for herself. What comes out is nothing like the quiet, literary novels that have so far peppered her unremarkable career. It's a far-future epic where androids and AI wage war in the grown-over ruins of human civilization. She calls it Rusted Robots.
When Zelu finds the courage to share her strange novel, she does not realize she is about to embark on a life-altering journey—one that will catapult her into literary stardom, but also perhaps obliterate everything her book was meant to be. From Chicago to Lagos to the far reaches of space, Zelu's novel will change the future not only for humanity, but for the robots who come next.
A book-within-a-book that blends the line between writing and being written, Death of the Author is a masterpiece of metafiction that manages to combine the razor-sharp commentary of Yellowface with the heartfelt humanity of Tomorrow and Tomorrow and Tomorrow. Surprisingly funny, deeply poignant, and endlessly discussable, this is at once the tale of a woman on the margins risking everything to be heard and a testament to the power of storytelling to shape the world as we know it. (From William Morrow)
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Winnipeg Free Press
3 days ago
- Winnipeg Free Press
Writer Bernardine Evaristo receives lifetime accolade for a career of breaking boundaries
LONDON (AP) — Bernardine Evaristo doesn't like boundaries. For the Booker Prize -winning novelist, rules about genre, grammar or what a working-class biracial woman can achieve are all to be challenged and swept away. Evaristo was announced Wednesday as recipient of the 100,000-pound ($135,000) Women's Prize Outstanding Contribution Award for her 'transformative impact on literature and her unwavering dedication to uplifting under-represented voices.' Evaristo, 66, received the prize both for her work to help promote women and writers of color, and for writing that takes in poetry, a memoir and seven novels including the Booker-winning 'Girl, Woman, Other.' 'I just go wherever my imagination takes me,' she said. 'I didn't want to write the kind of novels that would take you on a predictable emotional or moral journey.' An eclectic output Evaristo had already explored autobiographical fiction, historical settings and alternate realities when she won the Booker in 2019 for 'Girl Woman, Other,' a polyphonic novel told from the point of view of a dozen characters, largely Black women, with widely varying ages, experiences and sexualities. She was the first woman of African heritage to be awarded the prize, which was founded in 1969 and has a reputation for transforming writers' careers. When she won, Evaristo was 60 and had been a writer for decades. She says the recognition 'came at the right time for me.' 'Maybe I wouldn't have handled it so well if I was younger,' she told The Associated Press at her London home. 'It changed my career –- in terms of book sales, foreign rights, translation, the way in which I was viewed as a writer. Various other opportunities came my way. And I felt that I had the foundations to handle that.' Evaristo's house on a quiet suburban street is bright and comfortable, with wooden floors, vibrant textiles and a large wooden writing desk by the front window. Large photos of her Nigerian paternal grandparents hang on one wall. Her work often draws on her roots as the London-born child of a Nigerian father and white British mother. Like much of Evaristo's work, 'Girl, Woman, Other' eludes classification. She calls it 'fusion fiction' for its melding of poetry and prose into a novel that relishes the texture and rhythm of language. 'I kind of dispense with the rules of grammar,' she said. 'I think I have 12 full stops in the novel.' If that sounds dauntingly experimental, readers didn't think so. 'Girl, Woman, Other' has sold more than 1 million copies and was chosen as one of Barack Obama's books of the year. Passion for poetry Evaristo traces her love of poetry to the church services of her Catholic childhood, where she soaked up the rhythms of the Bible and sermons, 'without realizing I was absorbing poetry.' When she started writing novels, the love of poetry remained, along with a desire to tell stories of the African diaspora. One of her first major successes, 'The Emperor's Babe,' is a verse novel set in Roman Britain. 'Most people think the Black history of Britain only began in the 20th century,' Evaristo said. 'I wanted to write about a Black presence in Roman Britain -– because there was a Black presence in Roman Britain 1,800 years ago.' Another novel, 'Blonde Roots,' is set in an alternative historical timeline in which Africans have enslaved Europeans, and was nominated for a major science-fiction award. 'Mr Loverman,' which centers on a closeted gay 70-something Antiguan Londoner, was an attempt to move beyond cliched images of Britain's postwar Caribbean immigrants. It was recently made into a BBC television series starring Lennie James and Sharon D. Clarke. Levelling the playing field Her latest award is a one-off accolade marking the 30th anniversary of the annual Women's Prizes for English-language fiction and nonfiction. Women's Prize founder Kate Mosse said Evaristo's 'dazzling skill and imagination, and her courage to take risks and offer readers a pathway into diverse and multifarious worlds over a 40-year career made her the ideal recipient.' Evaristo, who teaches creative writing at Brunel University of London, plans to use the prize money to help other women writers through an as-yet undisclosed project. She has long been involved with projects to level the playing field for under-represented writers, and is especially proud of Complete Works, a mentoring program for poets of color that she ran for a decade. 'I set that up because I initiated research into how many poets of color were getting published in Britain at that time, and it was under 1%' of the total, she said. A decade later, it was 10%. 'It really has helped shift the poetry landscape in the U.K.,' she said. Partial progress Evaristo followed 'Girl, Woman, Other' with 'Manifesto,' a memoir that recounts the stark racism of her 1960s London childhood, as well as her lifelong battle for creative expression and freedom. If Evaristo grew up as an outsider, these days she is ensconced in the arts establishment: professor, Booker winner, Officer of the Order of the British Empire, or OBE, and president of the 200-year-old Royal Society of Literature. That milestone -– she's the first person of color and the second woman to head the RSL -– has not been trouble-free. The society has been ruffled by free speech tows and arguments over attempts to bring in younger writers and diversify its ranks -– moves seen by some as watering down the accolade of membership. Evaristo doesn't want to talk about the controversy, but notes that as figurehead president she does not run the society. She says Britain has come a long way since her childhood but 'we have to be vigilant.' 'The country I grew up in is not the country I'm in today,' she said. 'We've made a lot of progress, and I feel that we need to work hard to maintain it, especially in the current political climate where it feels as if the forces are against progress, and proudly so. 'Working towards an anti-racist society is something that we should value, and I hope we do, and that we don't backslide too much.'
Winnipeg Free Press
19-05-2025
- Winnipeg Free Press
Cannes standout ‘My Father's Shadow' marks a historic first for Nigeria
CANNES, France (AP) — Akinola Davies Jr. and his brother Wale were both toddlers when their father died. Many years later, they began thinking about an idea for movie: What if they had gotten to spend a day with him? In 'My Father's Shadow,' which is playing in the Cannes Film Festival's Un Certain Regard section, the Davies brothers pay tribute to the father they hardly knew in a shattering father-son tale and one of the clear standouts of the festival. The film, which premiered Sunday, was the culmination of more than a decade's worth of wondering. Wale first sent Akinola a script — the first Wale had written and the first Akinola had read — in 2012. 'With zero context, he sent it to me and I just had this real emotional reaction,' Akinola Davies said in an interview. 'I actually cried when I read it because I had never conceived of the idea of spending a day with my father and what we would say to him and what he would be like.' 'My Father's Shadow,' set over a single day in Lagos in 1993, is making history in Cannes. It's the first Nigerian film in Cannes' official selection, a milestone that Nigeria is celebrating. The country has its own large film industry, nicknamed Nollywood. But thanks to 'My Father's Shadow,' Nigeria set up its own national pavilion in Cannes' international village this year. 'It means a lot to people back in Nigeria. It means we can exist on these platforms and our stories can exist in these spaces,' said Davies. 'It's a testament to talent that's around in Nigeria. It's a testament to the stories that are there. It's a testament to the industry that's flourishing.' 'My Father's Shadow,' which Mubi acquired for North American distribution ahead of the festival, has connections to the United Kingdom, too, which is where Davies is based after growing up in Nigeria. 'The Nigerian press asks me a lot if the film is Nollywood or not Nollywood. I would say it is because all the technicians work in Nollywood,' said Davies. 'You can't borrow people from that whole industry and say it's not part of it.' 'My Father's Shadow,' shot in Lagos, also gets a tremendous amount of its texture and atmosphere from Nigeria. 'Point a camera at anything in Lagos, and it's so cinematic,' Davies says. 'I have this real sense of romance for Nigeria,' he adds. 'Everyone's like, 'It's super chaotic,' but for me it's actually very still. Just driving around in the car feels really cinematic to me. I just take pictures of people all the time.' 'Gangs of London' actor Ṣọpẹ́ Dìrísù plays the father, Folarin. At the family's home outside Lagos, the boys (Chibuike Marvellous Egbo and Godwin Egbo) return home to unexpectedly find him there. They hardly ever see him — he works in Lagos — but Folarin takes them along on a trip in the city that will be revelatory for the boys. To make the fictional version of their father, the Davies brothers had to try to remember what they could (Akinola was 20 months when his father died; Wale was 4 years old), listen to stories and weed out their imagined memories. Their father rapidly developed epilepsy and died during a seizure, lying in bed next to their mother. Akinola is named after him. 'It's kind of the confluence of memory, dream and hearsay,' Davies says. 'How do you work through all of that to create a portrait?' 'My Father's Shadow' is set on a pivotal day for Nigeria, when Gen. Ibrahim Badamasi Babangida, who took power in a coup, refuses to accept the results of a democratic election. On this day, not just the conjured memory of the Davies' father but the dreams of a nation are put on hold. 'My Father's Shadow,' though, represents the realization of Davies' filmmaking aspirations. His first feature, following the brothers' BAFTA-nominated short 'Lizard,' confirms Davies as a major up-and-coming director. More than that, though, 'My Father's Shadow' is deeply cathartic for him. Winnipeg Jets Game Days On Winnipeg Jets game days, hockey writers Mike McIntyre and Ken Wiebe send news, notes and quotes from the morning skate, as well as injury updates and lineup decisions. Arrives a few hours prior to puck drop. 'Being the age I am, I've done my grieving,' Davies says. 'But just before we shot, I realized I was still grieving. Our prep started about a week after the anniversary of my dad's passing. Every year, my mum calls me or texts me. I took my brother to his grave, put flowers down and made kind of a ceremony out of it.' ___ Jake Coyle has covered the Cannes Film Festival since 2012. He's seeing approximately 40 films at this year's festival and reporting on what stands out. ___ For more on the 2025 Cannes Film Festival, visit
CTV News
15-05-2025
- CTV News
Daniel Dae Kim making history at the Tony Awards and pushing for Asian representation on Broadway
Nominee Daniel Dae Kim attends the 78th Annual Tony Awards Meet the Nominees press event at the Sofitel New York on May 8, 2025, in New York. (Photo by Evan Agostini/Invision/AP) The first monologue Daniel Dae Kim ever performed was by David Henry Hwang. He had to do one for his college summer program at the National Theater Institute in Connecticut. Kim chose a scene from 'FOB,' Hwang's play about the assimilation struggles of a Chinese American. So, it's fitting that 35 years later Hwang — the first Asian American to win the Tony Award for best play — would be the one to bring Kim into the Tony spotlight. Known for TV series such as 'Lost' and 'Hawaii Five-0,' Kim, 56, is the first Asian nominee in the category of best leading actor in a play in the Tonys' 78-year history for his work in a Broadway revival of Hwang's 'Yellow Face.' 'I can imagine a lot of things, but I did not imagine this scenario with David,' Kim said. 'That I would be in a play with him, that we would both be nominated for Tony Awards and we would be able to call each other friends.' In the semi-autobiographical show, which ran last fall at the Roundabout Theatre Company, Kim played a satirical version of Hwang. The show also scored nods for best play revival and best performance by a featured actor in a play for first-time nominee Francis Jue, an original 2007 cast member. You could not have scripted a better ending for a play that was written in response to the musical 'Miss Saigon' casting white actors as Asian characters. Kim's performance was filmed in November and PBS will broadcast 'Yellow Face' on Friday. The Tonys, airing on June 8, also will put a spotlight on the play. Asian representation and the Tonys This groundbreaking nomination seems like the perfect karmic reward for Kim, who has spent years advocating for greater Asian representation. At the pandemic's height, the Korean American actor was a constant media presence speaking out against anti-Asian hate. He also jump-started a campaign for veteran actor James Hong, then 91, to get a Hollywood star. He woke up to the news of his nomination after people were able to get around his phone's 'do not disturb' mode. His competition includes George Clooney and Cole Escola. 'It'd be a huge surprise if I won, but I will say that even getting the nomination is a win especially when you put it in the context of our community and what this means for Asian Americans,' said Kim, whose previous Broadway credits include 'The King and I.' He admits it's surprising and 'a little sad' that no other Asian actor has been in this category. There's still never been an Asian nominee for best lead actress in a play. 'Of course, the barrier we really want to break is to actually have someone win, and hopefully that happens sooner rather than later, whether it's me or not.' Kim is one of seven Asian acting nominees this year. Only three acting trophy winners have been Asian. One was Lea Salonga for 'Miss Saigon' and another was Ruthie Ann Miles for 'The King and I.' Coincidentally, the first was BD Wong for best featured actor in Hwang's Tony-winning play, 'M. Butterfly.' Hwang takes special pride in helping actors break glass ceilings. 'I get to feel like, 'Oh, maybe I'm actually able to make a difference' and change the culture in the way that my little-kid-self would have loved but would not have thought possible,' said Hwang, who now has his fourth career Tony nomination. He was last nominated 22 years ago. Bringing Asian Americans into the theater For a long time, Hwang felt the only way to get a play with Asian characters made was to set it outside America because 'Broadway audiences are not interested in Asian Americans.' Historically, productions with Asian ensembles have been musicals set in 'the exotic lands of Asia,' such as 'The King and I,' said Esther Kim Lee, a theater studies professor at Duke University and author of 'The Theatre of David Henry Hwang.' 'Flower Drum Song,' set in San Francisco, was an exception but the songs and book were by Richard Rodgers and Oscar Hammerstein II. Hwang actually revised the book in 2002. 'It's 2025. We finally see an actual Asian American play with an Asian American lead,' Lee said. 'You can have 'The King and I' and have great actors and they may get Tony Awards, but it's really not about Asian Americans. That this has happened with 'Yellow Face' is just incredible.' The show's two-month run brought the Roundabout a 50% increase in first-time audience members — 'a powerful statement,' Kim said. 'One of the nicest compliments I would hear after the show when I would go to the stage door is, 'This is the first Broadway show I've ever seen,'' Kim said. 'That meant a lot to me because bringing Asian Americans into the theater is important and bringing younger people into the theater is important just for the health of theater in general.' 'Yellow Face' has new relevance Besides discussing whitewash casting, 'Yellow Face' examines the pain of the main character's immigrant father. The role is based on Hwang's father's experience being wrongly accused of laundering money for China. With the current anti-immigrant and anti-DEI climate, the show's airing on PBS feels especially vital to Hwang. 'Whenever there's a conflict between America and any Asian country, Asian Americans are the first to get targeted,' Hwang said. PBS is also where in 2020 the five-episode history docuseries 'Asian Americans' aired for Asian American Pacific Islander Heritage Month. Kim was a narrator and remains 'unequivocally proud' of the project. Five years after the rise of anti-Asian hate crimes, Kim sees 'Yellow Face' simply making it to Broadway as a victory. 'I don't want to get preachy, but I will say that the goal with spotlighting and elevating people of color is not to threaten the establishment,' Kim said. 'The goal was really to say everyone can contribute to our society. Everyone can be a positive force for change.' Terry Tang, The Associated Press
