Photo by Jai Lennard.

In Conversation: Glory Edim on Her Debut 'Well-Read Black Girl' Anthology and Her Discovery of Self Through Fiction

We catch up with the Nigerian-American author and founder of the book club-turned-community, Well-Read Black Girl, about her debut anthology, this year's Well-Read Black Girl Festival and more.

Over the past three years, Glory Edim, the founder of Well-Read Black Girl, has managed to foster an intentional community of black women who love all things black literature. Her brainchild has evolved from a book club, to an expansive online community, to a festival and now, to a hard-cover collection of must-read essays from black women authors she admires.

The Nigerian-American author and community builder recently celebrated the release of her debut anthology, Well-Read Black Girl: Finding Our Stories, Discovering Ourselves, at the second annual Well-Read Black Girl Festival at Pioneer Works in Brooklyn. The event was filled with vibrant, intergenerational energy from black women who gathered to celebrate Edim and to celebrate each other. The festival opened up with intention setting, a music performance, with a keynote from Patricia Smith of Teahouse of the Almighty, who Edim wanted to highlight for attendees who did not have the poet and author on their radar.

One question connected the day-long conversations and workshops: When did you first see yourself in literature?

Edim answers the question through her curated anthology, which features a collection of essays by prolific black women writers on the importance of recognizing the need to have the opportunity to find oneself through literature. Featuring Jesmyn Ward, Lynn Nottage, Tayari Jones, Gabourey Sidibe and more, the Well-Read Black Girl anthology is the reason we turn to books.

We caught up with Glory Edim to learn more about her experience curating the anthology, her reflections on year two of the Well-Read Black Girl Festival and what she has in store for her community and readers next.

This interview has been edited for length and clarity.

Well Read Black Girl Festival: 2018. Photo by Shane Drummond.

What was the reception to your anthology like at the Well-Read Black Girl Festival—or even since the book was released?

It's just been a lot of positive energy. I signed a lot of books. It sold out at the pop-up book store that we had. People were asking questions and most importantly, they were telling me their own stories. I was hoping that the question posed would motivate people to think about that question for themselves. And that's been happening a lot, where people are coming up to me and telling me their experiences—when they first saw themselves in a book or a book that really held their attention as a young person and changed their perspective.

Well Read Black Girl Festival: 2018. Photo by Shane Drummond.

Well Read Black Girl Festival: 2018. Photo by Shane Drummond.

What was your process around selecting and approaching writers to contribute to the anthology?

At first, I went to people who were familiar and very supportive of the book club from the beginning. So the majority of the women have either been book club picks, or I worked with them one-on-one to work with the community: Jacqueline Woodson, Zinzi Clemmons and even Gabourey Sidibe—we really supported her memoir That's Just My Face when it came out. When it was time for me to really put this anthology together, I just immediately thought about the women I worked with. And then, the second layer of that was thinking about writers I had read who really inspired me and who I wanted to have a connection with beyond just liking on Instagram or retweeting, and the first person that came to mind was Lynn Nottage in the collection because I wanted a wide array of different types of stories.

I really wanted to have a playwright in the book and she is the ultimate playwright when it comes to black women. And that was a cold call. I ended up reaching out to her and she was so generous and responsive. I had my dream list, I also had people that I was confident that they, if they had time or were available, would want to support the collection.

For someone whose first introduction to Well-Read Black Girl is through the anthology. How would you walk them through the book?

If the Well-Read Black Girl Anthology is their first introduction, I want it to be a very eye-opening experience and I'm looking for it to have an immediate heart connection, where it is something where you feel as if you're in conversation with the writer and it is giving you a sense of your own self-identity. Their essays are just well-crafted and there's a brevity to them. So you don't have to start from the beginning and go all the way to then end. You can really open up the book anywhere and enjoy the collection. And I hope that people consider their own memories and go from there and think about the times there were things that changed their perspective on life. I think that's really vital for the reader to just consider their own experience as they're reading.

Well Read Black Girl Festival: 2018. Photo by Shane Drummond.

As the editor of this book, did you ever imagine that you'd have such an opportunity? What was the actual process of putting the anthology together like for you?

I'm grateful for the opportunity to praise these women and to praise their work in a public and highly celebrated way. I didn't think that I would have this opportunity and it's so much because of the community that's really trusted me. And they believed in my vision and how I curate things, whether it's the book or the Instagram account. It's been a learning experience for me and really stepping into my own self. But as the editor, it's been a new experience. Especially when you're editing people you really admire.

Trying to edit Jacqueline Woodson or Tayari Jones or Jesmyn Ward is something that left me, at times, really feeling uncertain or unconfident. And the moment I was able to get over that fear, I just realized that the anthology was a complicated and beautiful piece of work. But it was something I wanted to use to really crystallize the power of what black female identity means in literature and offer a new contemporary analysis of our work and our emotional memories. And I think my editing process, in general, was rather intuitive. It was best to pay homage to the people that I really admire like Toni Cade Bambara or Audre Lorde.

There's a connectivity with the stories because meaning and identity are really looked at as a way to explore the personal journeys into black womanhood. When you look at every single story, that is the common theme: who are you, and why are you this way? And I think it goes without saying that it's my favorite question, I really like to ask "why" and I like to either explore the reasons people do the things they do or the things that motivate them or inspire them. And again, the anthology is just full of exploration and the beautiful sense of self-determination. Every one of these writers is very self-disciplined, self-determined and they want to perceive themselves.

Well Read Black Girl Festival: 2018. Photo by Shane Drummond.

Well Read Black Girl Festival: 2018. Photo by Shane Drummond.

My last question for you is, what's next? I'm sure you're continuing to work on more things.

I'm working on a memoir, and it actually feels really weird saying memoir, because it really focuses on 5 years of my life, which was my senior year of college and then a few years after.

And during that time, my mom was ill and she suffered from severe depression. And it was really, really debilitating to the point where it really rendered her silent. She didn't talk often. And that was a time where me and my brothers really banded together to take care of her. Unlike most Nigerian families, our family is very small. We have a lot of family back home, but we don't have a lot of family in the States, so I have a lot of kinships, you know? I have a lot of folks I call Aunty and Uncle, but they're not really related to me.

When it came down to it, I really had to take care of my mom and my brothers. I had support, but not in that way where you're about to just move over to someone's old house. I really had to figure things out. And people did help in all the ways they could, but not in a way that I could've really just rely on it. I'm writing about that experience and I'm talking about black identity, what it means to be Black American and Nigerian, altogether. And what it means to really find nourishment in fiction, because that was a really tough time in my life. I was in college and didn't have access to therapy, so I really relied on books and reading to help me cope during these periods. Even right now I've been going through my journals.

Well Read Black Girl Festival: 2018. Photo by Shane Drummond.

Because my mom wasn't talking a lot, she wrote a lot of letters. At that time I really thought maybe my mom would never talk again, so I was trying to figure out what our lives would be moving forward. So if she never talks to us, does this mean that she'll listen to me forever? Do we move back to Nigeria? We were constantly trying to figure out how to create a life with this new, rather abrupt, thing that happened. The first year, I thought maybe this is a phase and she's not feeling well and will get over it. But then year two came around, and I was like, this is not changing, so we have to figure out how to overcome this together. In all, it happened over five years.

I was trying to get her treatment and she finally did get treatment. And now if you knew my mom, you would never know that happened. She will sometimes become quiet, but not in the way where she isn't talking. In the end, we were able to get her treatment and she did do a full recovery. And even part of her recovery, it's so crazy because writing is so much a part of that. So she ended up writing her own book, telling her own story. And that really helped her regain her voice. And the scenes in the book are really like the power of language, identity, mental illness and how fiction can be nurturing. It's really, really hard, also because I'm working with my mom to do everything. It's my story, but it's also my mom's story.

And you know Nigerian parents, girl.

Yes. The fact that you're able to work on this with her, I'm sure there's a lot of, "No, don't put that there."


But we have to tell the truth.

She just has her idea of how she wants to write things or how she wants to tell her story, or even how to talk to about my dad. My mom and my dad had a really difficult relationship. I have a different memory, I had a completely different relationship with my father. So when I'm writing about him, she'll say, "That didn't happen." But I'm like, "Yes it did."

It's really hard. So it's taking me a lot longer, compared to the anthology. So it will be out next year. I have a good draft, and I'm hoping to have a really solid second draft by after the holidays. And then a third draft will be my final. But it is hard, it is really, really hard. I'm putting a lot of energy into that.

And then I'm planning the Festival for 2019. I want it to continue tho grow and I want there to be multiple tracks and highways to incorporate different genres. I really wanna pull in more theater and a good deal with film. Last year we experimented with music, so we're still trying to figure out how to pull in different genres. Because I want it to be very all-inclusive. It's literary, of course, but I want to incorporate these intersections of visual arts and theater and performance arts.

So I'm working on the memoir, the festival and just trying to drink enough water and stay alive.

(Photo by TOLGA AKMEN/AFP via Getty Images)

Bernardine Evaristo's Award-Winning Novel, 'Girl, Woman, Other,' Is Being Adapted Into a Film

The British-Nigerian author's Booker-prize winning book, about the lives of Black-British women, is headed to the big screen.

British-Nigerian author Bernardine Evaristo's Booker-prize winning novel Girl, Woman, Other is being adapted for the big screen by major British production company Potboiler Television, reports African literary site Brittle Paper.

The production company, helmed by BAFTA winning producer Andrea Calderwood and Gail Egan, is the same company behind the upcoming series adaptation of Chimamanda Adichie's Americanah on HBO Max. Potboiler Television's previous productions also include the 2019 film The Boy Who Harnessed the Wind, starring Chiwetel Ejiofor.

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Here are 10 Recent Books from Black South African Women Writers That You Need to Read

These 10 books have both shifted and unearthed new narratives within South Africa's literary world.

A few years ago, we celebrated the eight most influential Black South African women writers during Women's Month. The list featured the likes of Miriam Tlali, the first Black woman to publish a novel during Apartheid, Sweet Medicine author Panashe Chigumadzi and beloved poet Lebogang Mashile. We now bring you our selection of ten literary gems by various Black South African women writers which have shifted and even unearthed new narratives in the South African body of literature.

This list is in no particular order.

​"Collective Amnesia" by Koleka Putuma, published 2017

It is unprecedented for a poetry book in South Africa to go into a ninth print run and yet, Collective Amnesia has managed to do just that. The collection of poems, which compellingly explores religion, womanhood, Blackness, queerness, traditionalism, trauma and everything in between, has also been translated into Danish, German and Spanish. The winner of the 2018 Luschei Prize for African Poetry, Collective Amnesia has also been adopted as reading material for students at various institutions of higher learning across the country. It is a truly phenomenal and unrivalled first work by Putuma.

"The Ones with Purpose" by Nozizwe Cynthia Jele, published 2018

Jele's book centers themes of loss, grief and trauma. After the main character's (Fikile) sister dies from breast cancer, it is now up to her to ensure that certain rituals are performed before the burial. The Ones with Purpose highlights a lot of what Black people refer to as "drama" following the death of a loved ones. It highlights how often Black people are often not given the opportunity to simply grieve their loss but must instead attend to family politics and fights over property and rights. It also speaks to how, despite the rift that loss inevitably brings to Black families especially, togetherness also results because of it.

"These Bones Will Rise Again" by Panashe Chigumadzi, published 2018

Drawing from Audre Lord's concept of a biomythography in Zami: A New Spelling of My Name as well as Alice Walker's essay In Search of Our Mothers' Gardens, Chigumadzi's These Bones Will Rise Again explores the history of Zimbabwe's spirit medium and liberation fighter Mbuya Nehanda during the Chimurenga, Zimbabwe pre- and post-colonization and the Mugabe-regime. The book also pays homage to her late grandmother. Chigumadzi's commitment to retelling lost narratives in Zimbabwe's complex history is a radical act in itself in a world that seeks to tell the country's stories through a lens that centers any and everyone else except Zimbabweans.

"Reclaiming the Soil: A Black Girl's Struggle to Find Her African Self" by Rosie Motene, published 2018

Just as Matlwa's debut novel Coconut explores the cultural confusion and identity crises that result in Black children raised in a White world, so too does Motene's book. In contrast, however, Reclaiming the Soil: A Black Girl's Struggle to Find Her African Self is instead a non-fictional and biographical account set during Apartheid South Africa. As a young Black girl, Motene is taken in by the Jewish family her mother works for. And while she is exposed to more opportunities than she would have had she remained with her Black parents, hers is a story of tremendous sacrifice and learning to rediscover herself in a world not meant for her.

"Period Pain" by Kopano Matlwa, published 2017

Matlwa's third novel Period Pain honestly pulls apart the late Nelson Mandela's idea of a rainbow nation and non-racialism. Through the central character Masechaba, the reader is shown the reality of a country still stuck in the clenches of racism and inequality. Xenophobia, crime and the literal death sentence that is the public health system are all issues Matlwa explores in the novel. It's both a visceral account of the country from the vantage point of a Black person without the privileges and comforts of a White person as well as a heartfelt story about how even the most broken continue to survive. It's the story of almost every Black person in South Africa and that that story is even told to begin with, and told honestly, is important.

"Always Another Country" by Sisonke Msimang, published 2017

Msimang's memoir details her political awakening while abroad as well as her return to a South Africa on the cusp of democracy. Hers is not an ordinary account of Apartheid South Africa and its aftermath but rather a window into yet another side—the lives of South Africans living in exile and more so, what happens when they eventually return home. Admittedly, it's an honest account of class and privilege. Msimang describes the tight-knit sense of community built between families who were in exile and acknowledges that many of them came back to South Africa with an education—something of which South Africans living in the country were systematically deprived. It is an important addition to the multitude of stories of Apartheid-era South Africa, the transition into democracy and the birth of the so-called "born-free" generation.

"Khwezi: The Story of Fezekile Ntsukela Kuzwayo" by Redi Tlhabi, published 2017

Redi Tlhabi's second non-fiction work tells the story of Fezekile Ntsukela Kuzwayo, the woman who accused then President Jacob Zuma of rape back in 2005. "Khwezi" as she became known throughout the very public trial, was a symbol of the many women subjected to the abuse of men in positions of power. Similarly, she was treated as women like her are so often treated—ostracized by the community and forced to leave and start anew elsewhere. Tlhabi's account of Khwezi's life was a courageous one and one that tries to obtain justice despite the court's decisions. Although Khwezi died in October 2016, her memory continues to live on in the hearts of many South African women who refuse to be silenced by the dominant patriarchal structure. For that alone, this work is tremendously important.

"Intruders" by Mohale Mashigo, published 2018

When one thinks of African literature, stories of migration, colonization, loss, trauma, culture and traditions usually come to the fore. As a result, Afrofuturism or speculative fiction is a genre that is often sidelined and the stories therein left untold. Intruders is a collection of short stories by Mohale Mashigo that unearths these stories in a refreshing manner. From mermaids in Soweto, werewolves falling in love with vampires and a woman killing a man with her high-heeled shoes, Mashigo centers the proverbial "nobody" and pushes against the narrative that Africans can only tell certain kinds of stories but not others.

"Miss Behave" by Malebo Sephodi, published 2017

There is a reason why Sephodi's Miss Behave has resonated so strongly among women across the board. Drawing inspiration from Laurel Thatcher Ulrich's adage that "well-behaved women seldom make history", Miss Behave documents Sephodi's journey to smashing the stereotypes peddled by society in its relentless prescriptions of what women can and cannot be; can and cannot do. Naturally, she's labeled a "misbehaving" woman and hence the title of the book. Sephodi also explores themes of identity and gender issues while allowing women the opportunity to take charge of their own identities despite societal expectations. A book that wants women to discover their bad-ass selves and exercise agency over their lives? A must read.

"Rape: A South African Nightmare" by Professor Pumla Gqola, published 2015

This book is both brilliant in the way it unpacks the complex relationship that South Africa has with rape and distressing in the way this relationship is seen to unfold in reality. Rape is a scourge that South Africa has not been able to escape for years and the crisis only seems to be worsening. Written almost four years ago, Prof Gqola's profound analysis of rape and rape culture as well as autonomy, entitlement and consent is still as relevant today as it was back then—both a literary feat and a tragedy. There can be no single answer to why South Africa is and remains the rape capital of the world, but Rape: A South African Nightmare is by far one of the best attempts thus far.

News Brief
Still from Hindou Oumarou Ibrahim's TED Talk

Watch Hindou Oumarou Ibrahim's  TED Talk on How Indigenous Knowledge Can Help Fight Climate Change

The Chadian activist—and one of OkayAfrica's 100 Women 2020—says traditional knowledge, as practiced in her native Mbororo community, is one of the keys to combatting climate change.

In a new TED Talk, climate activist, geographer and one of OkayAfrica's 100 Women 2020, Hindou Oumarou Ibrahim, discusses the role that indigenous knowledge can play in combatting climate change.

During the 13-minute talk, Ibrahim emphasizes how the exploration and acceptance of various knowledge systems–including those that fall outside of the scope of typical scientific research–can add to our understanding of ways to protect the environment. "I think, if we put together all the knowledge systems that we have -- science, technology, traditional knowledge -- we can give the best of us to protect our peoples, to protect our planet, to restore the ecosystem that we are losing," says Ibrahim.

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Photo by Gallo Images/Brenton Geach.

South Africans Condemn Police Brutality During National Lockdown

A number of videos have emerged on social media allegedly showing the intimidation and assault of several Black South Africans by law enforcement.

South Africa recently began a nationwide lockdown in an effort to contain the coronavirus outbreak.

The South African National Defence Force (SANDF) has been deployed across the nation to aid the police in ensuring that the rules of the lockdown are upheld. However, disturbing footage has emerged on social media allegedly depicting law enforcement agents assaulting Black South Africans.

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