Lisa Braxton is the author of the new novel The Talking Drum. Her work has appeared in a variety of publications, including Vermont Literary Review and Black Lives Have Always Mattered. A former television journalist, she lives in the Boston area.
Q: How did you come up with the idea for The Talking
Drum, and for your cast of characters?
A: It just evolved.
I had been writing short stories for years and had
written a scene about a man and woman at a bookstore. The woman was an old
girlfriend who wanted to reunite with the guy.
She found out what time of the day he came into the
bookstore for a cup of coffee in the café. She waited for him there and began a
conversation hoping she could rekindle the romance.
I revised that many times and it went nowhere.
Eventually I had the beginning of a story about a man and woman who own a
bookstore that is at the center of a gentrification effort. From there, I
developed the novel.
The characters developed organically.
Sydney and Malachi are a newlywed couple. They move to
the fictional town of Bellport. Malachi wants to open a bookstore in the
largely African American neighborhood where he grew up. She agrees to support
his dream. They think they will benefit from the urban redevelopment project.
Then there is Kwame, who is Malachi’s best friend, and
Della, the woman that Kwame lives with.
Kwame is a mover and shaker. He always has a hustle
going. Selling real estate, doing handyman work, being an unofficial aid to the
mayor. He’s working with the mayor to get businesses to move into town with the
idea that they will benefit from the new development.
Kwame seems a little shady and Della has her
suspicions that’s he’s a skirt chaser.
The third couple is Omar and Natalie. They live in the
immigrant neighborhood, Petite Africa. They’re in a building that is scheduled
to be taken by eminent domain.
Omar is from Senegal, West Africa, and Natalie is
African American. They have cultural differences that make their relationship
difficult. There is tension also because their building is being taken and Omar
refuses to believe that that will happen.
Mustapha Mendy is Omar’s uncle and the unofficial
mayor of Petite Africa. He’s mobilized the community to try to stop the
redevelopment project. Omar believes he will succeed.
I developed all of my characters organically. But I
did do quite a bit of reading about African drummers who came to the U.S.
during the 1950s and 1960s to work on my character, Omar.
Q: Why did you decide to set the novel in the early
1970s, and did you need to do much research to recreate that time period?
A: I grew up during that era so I knew it pretty well.
I didn’t have to do a lot of research to create that time period. I just had to
think back on my childhood and the world around me at that time.
It was when the Black Power movement was pretty
strong, so I thought that was a rich era in which to place my story. It wasn’t
many years after Dr. King was killed.
It was also around the time that the Festival of the
Black Arts took place in Dakar, Senegal, and I wanted to place one of my
characters, Omar, at that festival. Duke Ellington—orchestra leaders, composer,
pianist was at the Festival of the Black Arts, and plays a pivotal role in Omar’s
life.
Q: Did you know how the novel would end before you
started writing it, or did you make many changes along the way?
A: For the longest time I had no idea how the novel
would end. For years I didn’t know. I had written hundreds of pages and was
feeling kind of nervous as to how I would end it and if I would find a way to
end it well.
After writing I can’t remember how many drafts, as I
was winding down the story in the final chapters, it occurred to me, but it
wasn’t an easy process of discovery.
Q: You begin with a quote from Amos Bronson Alcott,
"Civilization degrades the many to exalt the few." Why did you choose
that particular line?
A: Historically the individuals who have power,
influence, and money, have been able to control and suppress the voiceless and
powerless to their own gain. Civilizations, cultures, communities, and
societies have crumbled, become subservient or have been wiped out because of
greedy entities motivated by kingdom building.
For example, during the 1970s, when people’s homes and
businesses were taken for development projects, there weren’t as many
safeguards in place for them as there are now. Legal safeguards were waived,
power was abused to take land.
Officials offered vouchers to move people to other
properties only to have insufficient numbers of vouchers made available to
families. Families that used the vouchers were often moved into public housing,
inferior structures, rundown places. I reflect some of that in The Talking
Drum.
Q: What are you working on now?
A: I’m working on my second novel, which takes place
in the 1850s in the Beacon Hill section of Boston.
Q: Anything else we should know?
A: I had a lot of fun conducting research for my
African characters and wanted to depict them as authentically as possible. I
knew that I wanted my drummer Omar and his uncle Mustapha to be from Senegal.
I was able to find a Senegalese restaurant in Boston
where I learned about the cuisine. I told the owner about the book I was
working on and she agreed to invite some of her friends and colleagues from her
country to come to the restaurant to meet with me.
They shared stories with me about their culture, what
it was like growing up there. Their impressions of the United States, why they
came to the United States.
I also took hand drumming lessons at a drumming
school. I met African drummers and learned what it was like to actually play
the drums to bring accuracy to my characters in the story.
--Interview with Deborah Kalb
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