Adelaide Festival Writers’ Week 2019 | Guest post by Tony Thomas

Many thanks to Tony Thomas for sharing his experience with us — Jennifer.

Sat 2 March 2019     Esi Edugyan interviewed by Geordie Williamson

Esi Edugyan (pronounced Ed-oó-jun) is a Canadian writer of Ghanaian descent whose third novel, Washington Black, was shortlisted for the Man Booker Prize last year – and deservedly so I thought when I read it last year. She read to us the impressive opening pages where the protagonist, the child George Washington Black, a slave on a sugar plantation in 1830s Barbados, describes the arrival of his new master, the evil (it turns out) Erasmus Wilde, but here passing by dressed in splendid white, together with his brother Titch, a scientific experimenter, who becomes Wash’s mentor and protector.

The first part of the book deals with the horrors of slavery, and these scenes are suitably horrific, but it’s the little details which strike us as absolutely real, such as the large mysterious covered object which Titch brings with him (it turns out to be an early airship) “bigger than the whipping stone” in the field. Esi said her idea for the novel started with an interest in the Tichborne Claimant. [Historical aside: Lady Tichborne refused to believe that her son and heir Roger had been lost at sea, and instead credited stories that he had been rescued and come to Australia. She advertised widely in Australian newspapers for news of him. A Wagga butcher eventually put up his hand as Roger, and Lady Tichborne asked her retired black servant, living in Sydney, to interview the claimant. The interview was inconclusive, but “Roger” was accepted as the heir, went to England and lived the good life for a while, until he was tried for perjury and imprisoned. Patrick White was also influenced by this story in his late novel, The Twyborn Affair, which however takes off on a very different tack.] Esi instead was fascinated by the life story of the interviewing servant, a former butler, who had been taken from the West Indies as a slave, had worked as a freeman for years as chief of a household, and whose life thus had been totally turned around in wholly unexpected circumstances. This then also became the core of Wash’s story in Washington Black.

The Tichborne Affair

Esi said that in writing she always starts with character, that this is what fascinates her in the first place – but then of course, around the third draft she told us, the need for shape arises, a story has to take place as well, and in Wash’s case it was the story of a life being turned around completely. And not just one of being (eventually) released from slavery, but also a life of science, because Wash is endowed with a natural talent, a genius, for scientific drawing, especially of marine life, which comes naturally to him without training, and which becomes the most important part of his life. Science, she says, “was a way of engaging with the world without the need for solid relationships”. “Wash sees it as a benign equaliser”. And she wanted to focus on the idea of slavery not just as an unjust deprivation of freedom, not just lost bodies, but as something which causes a vast amount of lost potential, of which Wash’s genius can stand as example. Where are the great black scientists of the past, she asked: they hardly exist. So then her story developed into one of a restlessness of narrative, with many shifting locales after the slavery section at the opening, to the US, the far north in Nova Scotia, eventually to England, where Wash and his colleagues create the first aquarium and where in a shed in the gardens of a house, Wash has the first place that he can call home – very much a picaresque, she said in conclusion.