In Conversation

We spoke to Ayesha Harruna Attah about finding inspiration, overcoming demons and her journey to publishing five books.

Interviewed by Zulaikhah Agoro.

ZA: I would love to start from the very beginning. How did you get interested in the world of languages and literature? When was the seed planted for you? What captured your interest at that stage?

AHA: I grew up in a family of journalists. My mother worked in the Ghana Broadcasting Corporation, and then later, my parents founded a magazine in the early 90s and ran a newspaper later in that decade, so I was surrounded by people who constantly told stories with words. In those early days, they used typewriters, and I remember marveling at going from the blank page to one that created a world that could transport readers. Even though my initial instinct was to run away and to study biochemistry, I found that there are so many great stories out there, and I wanted to be one of the people who creates them through fiction, or shares them through non-fiction.

ZA: Sounds like such a wonderful start! I want to talk a little bit about your debut Harmattan Rain, which was published in 2008.

It is a really moving novel that trails Ghana’s post-independence history through the eyes of three generations of women; Lizzie, Akua and Sugri. I want to keep this interview spoiler-free but I have to say Harmattan Rain did something very special for me. It’s one thing to write a static narrative of one character. Then, shifting that lens from childhood to girlhood, womanhood and beyond, and gently weaving those ties across three generations, while working against the backdrop of the complex post-colonial history of an African nation across 50 years; that’s an Herculean task to say the least.

Why did you decide to write Harmattan Rain, especially as a debut project? Can you walk us through the full journey of that book, from when it was only an idea to finally publishing it?

AHA: Thank you. Harmattan Rain is my first book baby, and sometimes feels so distant from me. When I go back to it now and then, I am often surprised. I wrote it under the tutelage of Ayi Kwei Armah, who managed a residency for young African writers from 2007 to 2009. I knew I wanted to write a novel about Ghana’s history and to weave that with how the country’s changes affected women’s lives. I also really enjoy multi-generational novels, therefore, I jumped on the form the first chance I got to write a novel. Armah and a group of his colleagues also ran a publishing house, and one of its members, Dr. Natalia Kanem, liked my book so much that she offered to finance its publishing.

ZA: I think the value of the story was so clear that it was really a no-brainer to get it into readers’ hands as soon as possible. Harmattan Rain was later released to wide acclaim and even went on to be nominated for the Commonwealth Writers Prize in 2010. How did this early success influence the subsequent years of your writing career?

AHA: The Commonwealth Writers Prize nomination was a big first achievement and is now a gentle reminder of what my work can do. As one is writing, there are all sorts of demons one has to battle - fear of rejection, fear of failure, imposter syndrome, does-this-even-matter?! - and for me, kind words from readers, prize nominations, a review that sees things I didn’t even intend, meeting readers - these are all perks that keep me going.

ZA: I definitely agree, the joys of writing lie in knowing that the work is touching hearts as you intended. What I find interesting is that your next three books, Saturday’s Shadows (2014), The Hundred Wells of Salaga (2018) and The Deep Blue Between (2020) also deal with similar themes of pre-independence and post-colonial struggles in Ghana. Why did you choose to focus your work on examining this history? What interests you about this subject?

AHA: I like to think of the evolution of my work as a spiral of sorts. I’m working from the inside and moving out, so sometimes themes overlap, and other times, they may seem hard to connect, but there’s a through-line. Harmattan Rain starts as an exploration of Ghana, the country I grew up in; Saturday’s Shadows is an amalgam of politics from a few different African countries; The Hundred Wells of Salaga and The Deep Blue Between are set in West Africa and its diaspora in the 19th century. In every book, I am trying to make sense of the world we’ve inherited and it has meant starting with myself and then going back in time. What interests me the most is how a lot of our problems started a long time ago, and how waking up to this is the only way we can better navigate what life throws at us.

ZA: Now you probably saw this one coming but here it goes anyway. For those who might have been living under a rock and don’t already know, you were recently selected as the 2023-2024 Literature Protégée for the Rolex Mentor & Protégé Arts Initiative where you are currently being mentored by the Bernadine Evaristo! I can’t even wrap my head around how awesome that is, serious congratulations. How did receiving this accolade feel? What has your experience been like so far in the program?

AHA: Thank you. It’s been truly wonderful to work with Bernardine Evaristo - she’s one of the most generous writers I’ve met. We’ve traveled together and she’s given me great feedback on my new novel. Through Rolex, I’ve also discovered the work of other creatives and it’s been enriching to see the intersections, and to be blown away by people whose brains are incredibly inventive.

ZA: So Ayesha, you are a 5x published author, Miles Morland Foundation Scholarship alumni, Rolex Literature protégée and ice-cream connoisseur who also holds 3 degrees in Biochemistry, Journalism and Creative Writing, including one from an Ivy League school. My next question is, how do you do it all? What does your writing routine look like in a practical sense, and how do you balance it with your daily life and other projects? 

AHA: I have learned to delegate, to take long walks when it gets overwhelming - because that happens sometimes- and to say no. I also have a child, so I’ve organized my writing time around his schedule. My routine is to write while he’s away at school. Occasionally, I take part in residencies, which allow me longer moments to work on my books. 

ZA: Not too long ago, you sold the movie rights for your most recent book Zainab Takes New York. Can you give us the exclusive scoop on that project? Do you have any anxieties surrounding the adaptation process and the prospect of seeing your characters come to life on the screen?

AHA: Sadly, the Zainab Takes New York adaptation fell through, but I’m confident another option for it or any other one of my books is just around the corner. It would be magical to have my characters come alive in another medium.

ZA: That’s really sad to hear, but these things do happen. I am sure something amazing is just around the corner. Last question, if you could give one piece of advice to aspiring authors, what would it be?

AHA: I always start with read as much as you can, but I’m also going to throw in: develop a good sense of humor or grow thick skin - this means finding a way to deal with some of the demons I mentioned earlier. Meditation helps me. For some, it might be prayer. And also seeing that life is more than just this one thing. Thank you for this delightful interview!

Ayesha Harruna Attah is the author of five novels: Harmattan Rain (Per Ankh Publishers), nominated for the 2010 Commonwealth Writers’ Prize; Saturday's Shadows (World Editions), shortlisted for the Kwani? Manuscript Project in 2013; The Hundred Wells of Salaga (Cassava Republic Press, UK; Other Press, US), finalist for the 2020 William Saroyan Prize; a young adult novel, The Deep Blue Between (Pushkin Children's), selected as a 2021 The White Ravens book; and Zainab Takes New York (Headline Accent), a rom-com.

Educated at Mount Holyoke College, Columbia University, and NYU, Ayesha has degrees in Biochemistry, Journalism, and Creative Writing. A 2015 Africa Centre Artists in Residency Award Laureate and Sacatar Fellow, she is the recipient of the 2016 Miles Morland Foundation Scholarship for non-fiction. She is the 2023-2024 Literature Protégée for the Rolex Mentor & Protégé Arts Initiative and is being mentored by Bernardine Evaristo.

She currently lives in Senegal and loves cooking, green tea ice cream, and staring at the ocean.

Photo credit: © Elise Fitte-Duval