How Charlie Muhumuza’s Voice is Impacting East African Fiction

Charlie Muhumuza

Charlie Muhumuza. Photo provided by the author.

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How Charlie Muhumuza’s Voice is Impacting East African Fiction

Not only does Charlie Muhumuza’s writing bring a fresh perspective to East African fiction, his short stories also have the potential to redefine the region’s literary narrative.
Charlie Muhumuza

Charlie Muhumuza. Photo provided by the author.

DISPATCH FROM UGANDA

How Charlie Muhumuza’s Voice is Impacting East African Fiction

Not only does Charlie Muhumuza’s writing bring a fresh perspective to East African fiction, his short stories also have the potential to redefine the region’s literary narrative.

American author and journalist, Tom Wolfe, once spoke of the modern notion of art as an essentially religious or magical endeavour. According to Wolfe, the artist may be viewed as a ‘holy beast’ who receives flashes of inspiration from the godhead. In the Pearl of Africa, Uganda, one writer hints at joining the great pantheon of African literary chroniclers by displaying a knack for transcendental creativity. This is Charlie Muhumuza, a writer and lawyer living in Kampala, who is on the cusp of redefining his region’s iteration of literary fiction.

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NURTURING THE WRITER WITHIN

Muhumuza’s story is a profound one. He was relatively new to the short story form until in 2019 when the Kampala-based literary organization, Lantern Meet Foundation, gave him the chance to attend a writing lab organized by its subsidiary, Ibua Publishers. Having already been a member of its poetic faction, The Lantern Meet of Poets, it was the annually held writing lab that led him to discover a world rendered in gorgeous short prose.

But the journey to Muhumuza becoming a writer started long before that. His love for storytelling through writing had been forged by the many books he had read at various stages of his life. As a child, he had marvelled at the storytelling in Enid Blyton’s Enchanted Woods; in his preteens, he had felt the magic in the dynamic characters in Barbara Kimenye’s The Moses Series, and books by English novelist, Charles Dickens. In his teens, he had enjoyed works by French and Kenyan writers, Jules Verne and Ngũgĩ wa Thiong’o respectively. He also credits how, in his adulthood, the writings of Gabriel García Márquez, Chimamanda Ngozi Adichie, Jennifer Nansubuga Makumbi, and peers like Ema Babikwa and Gladwell Pamba have shaped his writing.

Attending Ibua Lab was the nudge Muhumuza needed to finally start writing short prose. ‘This discovery led me to start digging up old Caine Prize stories, reading everything I could find, a lot of experimentation and applying for workshops,’ he tells me in an email exchange with him earlier this year. ‘I also started sending out stories to different publications tirelessly because I found myself believing in my work even when it was subpar at times.’

Muhumuza’s first major accomplishment as a writer came in 2020 when he placed third in the inaugural Kalahari Short Story Competition for his short story ‘The Machine’. Another milestone came a year later when he was longlisted for the 2021 Afritondo Short Story Prize for his story, ‘Brown Eyes’. In 2022, he attained his greatest achievement, one that propelled him to recognition within the East African literary community when his story, ‘How to Operate the New Eco-Protect Five-in-One Climate Control Apparatus’, a futuristic exploration of the effects of climate change, was shortlisted for the 2022 Commonwealth Short Story Prize. In 2023, he was longlisted once more for the Afritondo Short Story Prize for his story, ‘Once Boys and Girls Of The Stream’.

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AFROFUTURISM: A TOOL OF HOPE

In only three years, Muhumuza has grown into a noticeable presence within the African literary scene with his consistent appearance in literary prizes and journals. He cites his predecessors within the East African literary culture, who provided him with a model for what an East African writer should be, as the reason for his achievements. He says:

What I love about East African fiction is how diverse it is, how different the writers are. The writers that have come before us, Yvonne Adhiambo Owuor, Scholastica Mukasonga and the likes are the institutions upon which we can further build. Almost all the lists I’ve appeared on, and the publications, have had East African writers before and so my work wasn’t so alien.

We the new generation of East African writers have the confidence to attempt all these feats because our forerunners did so. There is no denying there is still a long way to go, and thus the current wave of East African writers must lay its bricks.

His story, ‘How to Operate the New Eco-Protect Five-in-One Climate Control Apparatus’, is set in the future and in it, an AI-powered appliance meant for combating climate change extorts and blackmails its clients. In a 2022 interview with Voertaal magazine, he says, ‘I wrote it during the pandemic during the time of climate discourse, so I was thinking about where we shall end up as a planet if nothing changes. But with faith in humanity, I believe there will be fighters.’

Muhumuza believes Afrofuturism is a tool of hope and he believes that hope is a good starting point to imagine and create new African stories. He asserts that, ‘in this almost continent-wide bleakness where many people feel disenfranchised and where many feel that beyond the rhetoric there is nothing seen to be done, we are left with the future, which is undeniably ours and not yet dirtied, to craft it how we wish it to be.’

For Muhumuza, the essence of fiction lies in its ability to convey truth, even when it takes the form of inventions such as Afrofuturistic and science fiction. He believes that the revelation of truth is the most important aspect of writing across all genres.

Muhumuza also assesses the different kinds of writings he engages with as a depiction of the kind of person he is. He says he engages with as much writing and read as widely as he finds interesting. He explains that:

I often find the best thing I’ve read in a day is an article on a science blog that I use to fact-check something I am currently writing or some well-researched piece on fashion history. I am very intentional about my reading. I read a book by an African writer at least once a month. I belong to this amazing book club called An African Bookshelf, and that’s all we read. This year, I decided to re-engage with authors that made me love writing, such as Anthony Doerr. A friend gifted me Cloud Cuckoo Land and I’m excited to start reading it. From my reading habits then I can define myself as a curious person, often contemplating the largeness and smallness of the world through what he reads.

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THE FUTURE OF EAST AFRICAN FICTION

Muhumuza’s latest short story is titled ‘Vignettes Of A Broken Memory’ and has been translated into Kiswahili with the title, ‘Nakshi Ya Kumbukumbu Iliyopotea’. The story was published in The Heart is a Bastard, a multilingual anthology released by the University of East Anglia in mid-2023. ‘Vignettes Of A Broken Memory’ started as a prompt by Kenyan writer and editor, Billy Kahora, in a workshop organized by Huza Press Rwanda. Since his introduction to the short story form was through an invitation to a writing lab, his journey in literary arts has always been guided by such opportunities. He believes the existence of such spaces on the continent is essential towards nurturing new talent and developing African literature.

In the 1960s, the South Sudanese poet, academic and literary critic, Taban Lo Liyong, dismissed the East African literary scene as a ‘wasteland’—describing the region as ‘a dry, desolate, barren stretch of wilderness where literature has simply refused to sprout.’ Since then, occasionally, the region has produced literati whose endeavours prove Liyong’s assessment wrong. Muhumuza presents himself as a writer whose ventures upend any notion that may exist of East African Fiction not thriving.   

Regarding what lies ahead, Muhumuza says he is slowing down on writing short stories. ‘I foresee maybe only one more short story from me and no more competitions.’ He then teases, ‘The rumour is that everyone in Nairobi is working on a novel. How true is it? At the moment, I could say that I’m looking in that direction too. My time as a writer has taught me that sometimes a larger story demands to be told, and one must oblige, in order to avoid haunted nights’

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