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| Author, Priya Hein by Florence Guillemain |
In 2023, Mauritian author, Priya Hein, published her critically acclaimed debut novel, Riambel, a fervent, unconventional foray into the Mauritian underexplored history of racial oppression and colonialism. Riambel unfurls through the lens of a young schoolgirl, Noemi, whose character evokes a reflection of multigenerational pain and also the buildup and cathartic release of an outcry. In the author’s words, “...there is a need to acknowledge realities in order to deal with the remnants of the past that are still omnipresent in our society.” This conversation is an inquiry into the author’s motivations, the further role of literature as a battering ram, and the subtle nuances that Riambel uses in keeping us attached.
Priya Hein was born in Mauritius. She has published several children’s books and short stories, and has contributed to a number of anthologies. In 2017 she was nominated by the National Library of Mauritius for the Astrid Lindgren Memorial Award. In 2019 she was selected for the Women’s Creative Mentorship Project for the University of Iowa’s International Writing Program.
Her debut novel Riambel won The Athena Prize 2023. It was selected as a Notable African Book of 2023 by The Brittle Paper. In 2021, the manuscript won The Jean-Fanchette Prize, chaired by J.M.G Le Clézio, winner of the Nobel Prize for literature.
ELISHA:
Thank you for talking to us Priya. I regard you as a strong voice emanating from the heart of Mauritius. And Riambel is that impassioned language you have created as an evocative link between present-day Mauritian society and her enduring racial history. I see your work as a mirror and at the same time a battering ram. Say, to what extent do you think literature can help us dismantle the strongholds of racial oppression?
PRIYA HEIN:
Thank you so much! I am delighted to be interviewed by you for the Fiery Scribe Review.
Riambel, my first novel, was born out of a feeling of anger during the BLM movement. I was living in Germany at the time and was discouraged from talking about the racism I had experienced as an immigrant woman. It became apparent to me that these were taboo subjects that made people uncomfortable. Even at school in Mauritius, I was not taught enough about our history. After being silenced, I decided to put my thoughts on paper. I wanted to write something different, from the perspective of a teenage girl whose ancestors were enslaved on a sugar estate in Mauritius.
Writing Riambel was a way for me to channel my emotions after being told that what I had experienced was not racism. And thanks to literature, I was able to learn about the vestiges of colonialism and its devastating effects. Hence, by raising awareness and by creating a safe environment in which to express oneself, I believe that literature plays a profound role in dismantling the strongholds of racial oppression by providing us with the tools to delve further into these issues. I think there is a need to acknowledge realities in order to deal with the remnants of the past that are still omnipresent in our society.
ELISHA:
In a conversation with The Arts Desk, you stated: “My character is called Noemi; the name starts with “No”, which is to say no, to protest. So writing this book was my form of protest.” However, Priya, do you perceive irony—or was there a deliberate use of subtle symbolism—in the fact that Noemi, the embodiment of that protest, may not have entirely aligned with the sensibilities of the defiance that defines her name? Or can we say that the ‘objection’ she represents is only realised when she walks into and washes off her “emotions and suffering” in the sea as if to express Steve Maraboli’s idea that “Letting go means to come to the realisation that some people are a part of your history, but not a part of your destiny”? What are your thoughts on this?
PRIYA:
The first syllable of Noemi’s moniker is derived from the word of protest ‘No’. Riambel was written during the BLM movement while people all around the world were manifesting their outrage by protesting in the streets. I decided to do it by writing about white supremacy, institutionalised racism, and the rigid structures which are so hard to break.
The ‘objection’ of Noemi is symbolised in different ways. By refusing to endure a life of misery and accepting the fate of her mother and the women before her, she finds another way of freeing herself. It is not meant to be ironic as Noemi’s name and character embody protest against this vicious circle. She may not have had the power to single-handedly object or take control, but the conveying of her story—Herstory—is making the protest.
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| Pontas Agency |
ELISHA:
Riambel is flavoured with stylistic deviations. Did you feel any hesitation putting out a work that bends conventions on so many levels? And, in general, how does it feel to be yet another voice contributing so luxuriously to experimental literature?
PRIYA:
As previously stated, Riambel arose from a surge of anger. I locked myself in the attic one long weekend and poured all of that pent-up emotion onto paper. This intense creative process limited the feeling of hesitation as I didn’t want to restrict myself, but just followed my instincts and the fragmentary style just came naturally. In retrospect, I was testing literary boundaries the same way I was questioning historical and social boundaries in the story.
I am deeply humbled and honoured to be considered a voice and contributor to this new wave of experimental literature. Literature allows us to challenge social conventions, so who is to say we should not challenge the boundaries of literature.
ELISHA:
In that regard, what advice do you have for writers who wish to express themselves beyond conventional forms?
PRIYA:
Language is so versatile and elastic and there are so many ways of expressing oneself. My advice would be to just write, be bold and follow one’s instincts. Some things will work, some won’t. There are no clear-cut rules. I don’t think one should cave to Anglophone-dominated aesthetic pressures or stylistic conventions.
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| Indigo Press |
ELISHA:
I observed the agony of Noemi, the persecution of Marie, the haunting ancestral voices that take their own full space within the pages, the infuriating ‘untouchableness’ of the De Grandbourgs akin to a dystopian helplessness, and finally the heartrending manner in which rire-en-belle is expressed in the final chapter, and I wonder: Can we call Riambel a dark fiction?
PRIYA:
The book does unpack a great deal of pain and intergenerational trauma and although it could be described as dark, I tried to make it softer by weaving in poems, songs and traditional Mauritian recipes. Whilst it is not historical fiction per se, many of these stories have a truth to them being issues faced by women in Mauritius and globally.
...there is a need to acknowledge realities in order to deal with the remnants of the past that are still omnipresent in our society.
— Priya Hein
ELISHA:
In a sorely psychological theme of survival, Mama, Noemi’s mother endures the trauma of losing a child to oppression and then witnesses another child disintegrating, yet her family’s livelihood continues to remain in the hands of the oppressors. What insights into the human condition and the power dynamics do you hope that readers will glean from her character? And can you share any influences that inform her survival instinct?
PRIYA:
Mama, like many women of her generation, endured so much suffering at the hands of the oppressors. This sadly leads to a desensitisation to the prejudices and oppression which become part of their lives.
As a single mother, she feels she has no choice but to continue working to provide for her daughters. Powerless, she conforms to the oppressors as a form of survival having recourse to her basic maternal instinct. Her disillusionment is based on personal experience, and those women before her, including her own daughter Marie’s ordeal. Hence, Mama unquestionably accepts her fate the way her ancestors did, which is something that Noemi deeply resents in the story. Whilst Mama’s concept of survival is to remain subdued and follow her predefined path, Noemi wants more. She aspires to a better life and sees education as her only way out.
ELISHA:
If there are two books on a bookshelf for you to read, one being a genre fiction and the other a literary fiction, which would you choose and why? :)
PRIYA:
I don’t think I would make my choice based on the genre alone as these can sometimes be misleading. So, it would depend on the subject matter, the writing style and whether I’m in the mood for it. For me a good book is often a mixture of different genres.
There are no clear-cut rules. I don’t think one should cave to Anglophone-dominated aesthetic pressures or stylistic conventions.
—Priya Hein
ELISHA:
Priya, the SFF genre is gaining ground in Africa, and more and more readers are dipping into that pool. Say, do you see yourself writing a revolutionary work with speculative elements, maybe envisioning a quasi-utopian ideal where the true ‘rire-en-belle’ can be realised?
PRIYA:
I'm aware of the growing popularity of SFF, especially with the younger generation. Personally, I haven't yet tapped into this upcoming literary scene as I often read and research books that correlate to what I am working on.
I can’t see myself creating a utopian version of Riambel because in order to achieve a ‘perfect’ ‘rire-en-belle’, I would need to write an ideal version about an illusive world without violence, sexism, poverty, social, class or ethnic disparities which is unfortunately unrealistic.
ELISHA:
Do you at any point in your writing process want to meet the expectations of your audience?
PRIYA:
I did when I wrote short stories and books for children. I was very cautious with my choice of words, illustrations, etc. I always thought of my young readers and how the stories would be perceived by them to the point of reading all my drafts to my children and carefully gauging their reactions.
When I felt compelled to write Riambel during BLM, my style was unapologetic. I just wrote what I thought needed to be said without any filters. I depicted the abuse, rapes and other atrocities committed on the sugar plantations in a way that is raw, without sugar coating.
ELISHA:
On a lighter note now, can you share a memorable experience you had with a fan of your work?
PRIYA:
A few years ago, I was queuing up at the airport bookstore in Mauritius behind a lady who was holding two of my children’s books. The bookseller, who knew me, immediately pointed out to the lady that the author was just behind her. It was quite a funny experience especially when the lady asked me to sign the books for her niece.
But in all honesty every interaction with readers is equally meaningful to me, every message, review, rating, signing, discussion, interview. It really warms my heart to see that my little book, which I thought no one would ever read except my immediate family, could reach such vast shores.
ELISHA:
If Riambel were to receive a film adaptation and you were allowed to join the cast, whose role would you love to play?
PRIYA:
Since I’m a terrible actress I’ll probably be better off playing one of the ghosts from the past since not much acting would be involved.
ELISHA:
Without giving much away, what aspect of your forthcoming work are you most excited for readers to discover?
PRIYA:
I am currently working on another novel. I can’t say much about it at this point except that it takes place in Mauritius and in London and that it is very different from Riambel. And I can’t wait to share it with my readers in due course.
Elisha Oluyemi is a Yorùbá writer. Winner of the 2023 Brigitte Poirson Literature Prize for Short Story, the 2023 Ikenga Short Story Prize, and the Lagos-HCAF Short Story Award (2022), he was longlisted for the 2024 Isele Short Story Prize and shortlisted for the 2022 YWC Award for Short Story. Elisha co-curated the crime anthology, Nightshade (IfeAdigo, 2022). He serves as a mentor in the SprinNG Writing Fellowship. His writing is (forthcoming) in Strange Horizons, Lolwe, Mystery Tribune, BAM Quarterly, Dawn Review, Mukana, Isele Magazine, The B’K, Sledgehammer, Terror House, and elsewhere. He’s contributed to forthcoming anthologies: Mukana Anthology of African Writing (2024), UNBOUND: Anthology of Nigerian Poets Under-40 (Griots Lounge, 2024), & Witsprouts Anthology (2024). For fun and relaxation, Elisha learns Korean, listens to classical music, and studies criminal minds. Tweets @ylisha_cs. Website: https://elishaoluyemi.carrd.co
