In this engaging discussion, Jeremy Harding, a contributing editor at the LRB and author of compelling works on migration and memoir, delves into the life and legacy of Binyavanga Wainaina. They explore Wainaina's iconic essay ‘How to Write About Africa,’ critiquing stereotypes in Western media. The conversation touches on humor in hardship, his poignant experiences reporting from South Sudan, and reflections on coming out to his parents. Harding also highlights a memorable interview with Senegalese musician Youssou N'Dour, blending wit and insight into African narratives.
Binyavanga Wainaina's critique of Western journalism highlights the harmful tropes that perpetuate misrepresentation of Africa and its people.
His personal narrative of coming out illustrates the complex interplay of identity and the struggle against external labeling in African contexts.
Deep dives
The Birth of How to Write About Africa
Binyavanga Wainana's famous piece, 'How to Write About Africa,' originated from his outrage over the misrepresentation of the continent in journalism, particularly following his reading of a Granta issue. His criticism targeted the tropes and stereotypes perpetuated by Western journalists, especially focusing on Richard Kapuscinski's work, which he perceived as fabricated and condescending. Wainana's frustration turned into a call to action, leading him to pen an aggressive email that eventually prompted an invitation to contribute to a new Africa issue of Granta. This remarkable transformation from a heated response to a celebrated essay reflects Wainana's incisive critique of the Western narrative surrounding Africa.
Wainana's Satirical Dissection of Western Aid Narratives
Wainana’s writing ruthlessly parodies the clichés often associated with Western humanitarian narratives, emphasizing the condescension involved in these portrayals. He critiques the tendency of aid campaigns to center on the image of starving children, suggesting that it reduces the complexity of African lives to mere tropes. Celebrities involved in humanitarian work also draw his ire, as he lampoons the narrative that suggests their presence is crucial for change. His work not only calls out these tendencies but also invites a deeper understanding of the ethical implications behind the portrayal of Africa in global discourse.
Confronting Colonialism and Neocolonialism
Wainana's reflections delve into the lingering impacts of colonialism in Africa and the neocolonial dynamics that persist despite political independence. He criticizes both the corrupt practices of African leaders and the ongoing influence of international institutions that impose their own agendas on African nations. Wainana expresses concern over how these dynamics contribute to a narrative of Africa as perpetually chaotic and incapable of self-governance. By addressing these issues, he underscores the importance of recognizing the legacies of colonial attitudes that continue to shape perceptions of Africa.
Navigating Identity and Representation
Wainana's exploration of personal identity is poignantly portrayed in his coming out narrative, revealing the complexities of being a gay man in Africa. His apprehensions about representing queer identity are coupled with a critique of how Western narratives often homogenize the experiences of African individuals. He expresses a desire to articulate his identity while resisting the imposed labels that come from an external gaze. In doing so, Wainana emphasizes the need for authentic representation that transcends stereotypes and allows for a more nuanced understanding of African identities.
In the latest issue of the LRB, Jeremy Harding reviews How to Write about Africa, a posthumous collection of essays and stories by Binyavanga Wainaina, one of postcolonial Africa’s great anglophone satirists. Jeremy joins Tom to talk about Wainaina’s life and work, including the title essay and his ambivalent response to its popularity (‘I went viral,’ he later said, ‘I became spam’); his reporting from South Sudan; the ‘lost chapter’ from his memoir in which he imagines coming out to his parents; and his account of travelling to Senegal to interview the musician Youssou N'Dour, a piece that Harding describes as both ‘beautifully done’ and ‘extremely funny’.