BY STAFF REPORTER
Yakob Berhanu is an aspiring young author and critic. So far he has authored five books and got published several articles. He is known for the criticisms he writes. Yacob, who grew up in countryside of Gondar, moved to Addis 12 years back.
The full-time writer has recently published a book under the title Yemeshager Sika/ THE AGONY OF TRANSCENDING./
This interview will afford glimpse of the Author’s life, authorship experience zooming in on his recent book.
Herald: Could you relate to us about your new book?
Yakob: I believe the novel fits the bill of typical metaphysical novels; for its overlapping essence of natural folds, for its dealing on the eternal questions of metaphysics and for its visionary and surreal sentiment.
Herald: as compared to your previous publications what is something different about your new book?
Yakob: I cannot specifically mention what is distinct about my new work as compared to other publications bearing my name. I don’t even care about that. I pen down my thoughts when I feel an urge to reveal something inside me I am a writer and a critic. I do my criticism when necessary and switch back to writing my own literary works when the muse visits me as a servitor or when I am in the right mood. Contemplating about the resemblance or non-resemblance of my writings is not my concern.
However, I think there is some sort of thematic relatedness between my collection of essays/critics and my last novel. I am an introvert writer. When I sit down to write I only try to reveal my personal contemplation and the impression that evolves from my consciousness. So you might see a fragment of ideas from Triple gods (Selestu taotat) reappearing in my current book in one form or another.
Herald: Anything novel to your new book that can be claimed as unique in the Amharic fictions?
Yakob: This question should be left to critics. But, I think I have tried to come up with some new approaches while writing Yemeshager Sika (THE AGONY OF TRANSCENDING)
In the first place, the story is fragmented. I believe modern readers no longer tolerate leave alone enjoy a linear story line narrating. Mines are projected in a deconstructed shape… which I hope will allow the reader a sense of playing Sudoku or solving a puzzle. The stories in the second part of the book are somehow related while they can also stand alone to be comprehended by themselves. The novel is a metaphysical kind, so it requires an interpretation by critics. The book should be examined closely and analyzed cautiously as it has philosophical, abstract, mystic, supernatural and transcendental, numerological and alchemical implications. The story does not have a linear storyline so the impression coming out should somehow correspond with the general vibe, tone or connotation inscribed deep in the characters and the story.
Herald: What are the symbols in the book? Could you relate their relevance and relatedness?
Yakob: This question is difficult. The symbols incorporated are various in kind. They are adopted from numerology, alchemy and the Ethiopian Telcom tradition. I strongly believe that one has to embrace the basic knowledge of alchemy, numerology and spirituality inorder to understand this book thoroughly. The four basic elements such as earth, water, wind and fire are vital components of the story. The elements are also used to classify the chapters. They are not inscribed in the story for no reason. The numbers such as nine and 27 as well have connotations that call for closer attention.
I do not think I am the right person to give explanation and or analysis. For instance humans life span is divided into three terms of planet Saturn’s rotation. It takes 27 years for the planet Saturn to rotate around the Sun. A person is considered to end physical growth in the first round of Saturn’s rotation. The second and the third, rotation brings mental and intelligence development. Let us just leave this for the readership and move on to the other questions. But still I sincerely believe all the symbols are somehow interrelated with the story. After all, one shall never write a novel for the mere sake of dramatization.
Herald: Tell me about the characters and your choice of characterization?
Yakob: Nobel winner Elie Wiesel said ‹‹a bad novel has three characters: the famous triangle. A good novel has only two. A great novel limits itself to one.›› Provided this perspective, my novel has only two characters. The first section of the story is narrated from a woman’s perspective It has a feminine tone. It depicts female characters’ memories and melancholy. The second part deals with a male character with somehow masculine tone. What is important at this juncture is the way the story is narrated and the point of view that is utilized to convey the story.
In general, novels with lots of characters and complex stories seem to be vanishing these days. First person point of view is now becoming the vehicle of story telling in the Amharic literature. I think that point of view is more relatable. Coming back to my characters, it is the point of view and the story itself that determined the number of characters in my last novel.
Herald: You are a translator too. Why did you choose to translate Khalil Gibran’s love letters?
Yakob: I don’t know. May be because I love letters. The core of ancient world literature and history were written either in the form of letter or used letters as a main source of information. Even most parts of the New Testament were written as a form of letter.I am afraid modern technology robbed us of it. We are losing this marvelous thought -provoking and human interaction trend. Without letters how could we understand the struggle and anguish of Vincent Van Gogh, Beethoven and so on?
But here letters of Kahlil Gibran and Mary Haskell are simply unique… The mysterious and mystic author whom we have known for decades was crucified between the lines. He was a hopeless man, standing bare hands in the face of cruel fate until Mary Elizabeth Haskell appeared from nowhere. Thenceforth she was his love mate, friend, muse, editor, supporter of finance and so on… But the whole world was ignorant of their mysterious friendship until this letters’ collection was published in 1972. For me, each letter is a bit of memory, love, anguish, mystery and a piece of philosophy… short but compact and concrete. So, why not his letters?
Herald: KEBADO LAY MEZGEN / Harvesting from nothing /is a collection of your critics and essays how was it received by the readership?
Yakob: Well, the book encompasses collected essays, critics, thought pieces written over six years. Since I had written those articles very carefully I knew that one day they would be collected and turned into a book. They deal with various critical issues and they were well received by the readership. I believe the more diverse those essays are the better the reader claims.
Herald: You seem to be interested in art where do you get the enthusiasm from?
Yakob: Whether you are a writer, sculptor, painter musician or whatever… you are plow on for same soul’s sake. Simply the medium differs. What I tried to express in words, somewhere else, and somebody could capture it on canvas with colors. Even better somewhere else somebody could decode it into stylish movement (dancing)… and so on… but I believe the master artist is someone who can transcend those glimpses in to timelessness. And of course, as a critic-minded writer I want to be interdisciplinary. That is how I have been shaping my mindset.
Herald: Who is your favorite author and any special writer that you think has influenced your writings?
Yakob: May be two authors… Herman Hesse and Samuel Beckett… Hesse was my first literary idol; and then Beckett appeared from nowhere. I still don’t even know how those two could equally be loved. I wonder if the touches of those giants could be visible in my works.
Herald: Could you tell us about your childhood?
Yakob: Childhood is like a distant mirage… a dream in a dream. I do not know why? Since the very moment I was conscious of my existence, I found myself combating against cruel odds. The struggle to be a potent writer was the hardest one. To seek sufficient time for my literary pursuit or development, I was compelled to be homeless. One unfortunate night I found myself on the streets. Standing bare handed in chaotically wide and slippery world…. it took me six years to cross that desert. It was like a pilgrimage; and I was like a hermit. Since it shaped me greatly, I embrace it as a blessing in disguise.
Herald: Deciding to go out on the street and living as a homeless requires a lot of courage, what do you learn from that experience and how did it help you to be a better writer?
Yakob: I don’t even know how anyone would respond to this question: I know for a genuine artist, a dream of winning a Nobel Prize could not be sufficient… rather it is the process that inspires, enlightens and elevates the artist. I like the process. I know the process will always be tiresome. But it is the struggle that shapes the essence and the life of the artist. I do not know whether it is true or not, but it is said that Vincent Van Gogh said ”if I couldn’t paint, I will murder someone.” It was truly my feeling. I could not even think a life outside of art. For that reason; to the much needed time and space I throw myself to the streets.
Only notebook in my hand and nothing else: No clothing, no shelter, no food… simply nothing… wadding through life against the biting teeth of fate. During the day I spend most of my time in the library. Always the night proves horrible. The policemen, the rain, even the streets, street boys’ belligerency, the hunger, the shame, the humiliation, the crippling uncertainty… For the whole six years I underwent through this challenges. There on the streets I produced two novels and a multitude of articles. It has been five years now since I managed to abandon life on the street with zero addiction.
Herald: Three of your books including Yemeshager sika and even most of your articles have subtitles. Why must it have a subtitle? Why is the main title not enough by itself?
Yakob: For me it is an act of librating the reader from bias… any title, every word, any of a phrase conjures some sort of imaginative picture or presumption for the reader. Sometimes that picture could be a bias. And a bias is bias. Most of the time it is destructive. But if the titles appear in double phrase or words; I believe, the reader would face difficulty to form a premise. And consequently the reader will be obliged to read the book to form his/her own conclusion. Secondly, sometimes I face a difficulty of connoting the whole concept in a single title word or a single phrase. For that reason I prefer combo titles…
Herald: Who is Yacob right now?
Yakob: I am a full time writer. Also a committed and meditative man… always meditating while walking, while napping or reading, listening music and even while spending leisure time. I have a tremendous ambition.
But opportunities here in this nation are limited. There is no any organized publisher, very few enough newspapers, only a few potent critics… writers hold the burden of becoming self-publishers, distributors, marketers… Circumventing over all these hurdles I am still a dreamer to contribute something for Ethiopian literature.
Yakob could be reached via his E-mail – singofbird@gmail.com
THE ETHIOPIAN HERALD WEDNESDAY 3 MAY 2023
