Edwidge Danticat has an obsession with the sea, from The Children of the Sea, a harrowing story from her short story collection Krik? Krak! to her latest work Claire of the Sea Light. The book centers on Claire Limyè Lanmè, a little girl who vanishes in a small fishing hamlet in Haiti on her seventh birthday. It has a thriller-like pace that’s reminiscent of The Dewbreaker. The last time Danticat had a juvenile protagonist was in Behind the Mountain and of course Anacaona: Golden Flower, but there is something extremely odd about little Claire, and she is bound to be ranked among Danticat’s most memorable protagonists.

How did the idea for Claire of the Sea Light come about?
Once, I was watching a TV program about Haitian children who are placed in foreign-run orphanages in Haiti, even though their parents are still alive. These parents, who, for economic reasons, were unable to care for their children, put them in orphanages, hoping that their children will have a better life. I have a dear friend who grew up this way and eventually reconciled with his birth family as an adult. In the program I was watching, someone said that Haitians are not as attached to their children otherwise they wouldn’t just give them away. That stayed with me because I didn’t grow up in a nuclear family. My brother and I spent the early part of our lives with my aunt and uncle in Haiti, in a house full of cousins, whose parents, like ours, were working abroad. I knew how difficult that choice was for our parents and for my friend’s parents, and many other people who find themselves in that kind of situation. I wanted to try to write about someone making that choice and show the very moment that choice is made from these three different perspectives: the parent, the child, and the potential new parent.

Do you sometimes find yourself feeling torn between painting certain realities about Haiti, and painting another picture? Censoring yourself? Like, sometimes do you think to yourself, “Some people’s only exposure to Haiti are my books. So I’d better…
I love Haiti, and I want others to love it too, but I don’t think creating an alternate reality in which all is rosy and perfect is the only way to write about it, even in fiction. I think it’s important to tell nuanced and complex stories that show many sides to our physical spaces as well as our humanity. Nothing new about that though. That’s what some of our best Haitian writers have been doing for generations now.

Who does Edwidge Danticat read in terms of authors and poets? Who are her faves exactly?
I read a lot. I have lots of faves. Currently I am reading Jessica Fievre’s memoir Inheritance in manuscript and it’s spectacular. I am also reading Amy Tan’s new book, The Valley of Enchantment. I am re-reading a lot of older Haitian writers since I am editing a follow up to Haiti Noir, a book called Haiti Noir 2: The Classics.

Speaking of languages, do you think that one day English will supplant French as the language alongside Creole that is spoken and written in Haiti?
I don’t think so. Instead, I’d love to see the role of Creole expand further, in academia, in the educational system. I have now lived in the United States for 32 years. I write in English because of the circumstances of my life, but it’s not something I would want to see imposed on others, especially in their own country.

You tend to shy away from social media and the web…
Believe it or not, I am a little shy, and there is a part of me that feels like social media is the biggest stage in the world. I like the idea of having a book out then fading away for a while to become somewhat invisible again. I kind of need that to reboot and start working on something else. But I am doing a little bit more of the web and social media these days. My publisher does most of the posting on my wonderful Facebook page, but I contribute sometimes as well. And this year, I will finally get a website.

You lived in New York for most of your early life. But when one studies your career history, it seems that since you’ve moved to Miami, it’s like you’ve been producing books practically back to back, with less and less time in between new releases. Do you think that geography has had an influence on your creativity? Like, the closer you are to Haiti, the more inspired you are?
Miami is a great city and living here has definitely made it possible for me to get to Haiti more often. However, I don’t think living in Miami can necessarily be credited for my productivity. Actually I have a lot more responsibility now than I had when I was younger and living in New York. The family. The kids. Aging parents and in laws. Maybe becoming older and having more on my plate has taught me to better manage my time and has given me more to write about.

[Photo Credit: Josephine Demme]

Be sure to connect with the author on her FACEBOOK PAGE. You can purchase the book HERE.

Edwidge Danticat’s latest novel is Claire of the Sea Light, the closest thing she’s ever written to a paranormal novel. The story takes place in Ville Rose, a little town in Haiti, where Nozias—a man of little means—is seriously considering giving his daughter Claire away to a better-off store owner. But Claire disappears and as the story develops, it becomes apparent that Claire Limyè Lanmè is no ordinary little girl.

In Part 1, Edwdige Danticat discussed everything from social media, to book title choice, and the use of the Creole language in novels. The conversation continues!

The Dew Breaker, The Farming of Bones, Breath, Eyes, Memory. Your novels have the most intriguing and poetic titles. Do you usually come up with the titles, and then write the novel? Or do you name your literary babies after their actual birth?
Some titles come before. Some come after. Some come during. Breath, Eyes, Memory, for example, was initially called Daughters of Haiti, until the editor brought a line from the book to my attention. The Farming of Bones comes from an expression some former cane workers used to tell me about, travay tè pou zo, working the land to the bone. The Dew Breaker is a literal translation of choukèt laroze, a henchman from the dictatorship era.

Your books have had some really interesting covers. Do you have a say with cover design?
The publisher usually sends me covers and thankfully, if I really hate a possible cover, they won’t go with it. They are also very much open to my suggestions. The cover photo for Claire of the Sea Light, for example, was taken by my friend Carl Juste and the cover girl is my oldest daughter Mira.

Do you tend to finish every novel you start?
I have at least four unfinished books in my drawer right now. Two of them might become one at some point in the future and two might never become anything at all.

All your heroines, from Sophie Caco to Ka and down have always inspired pity, empathy, and admiration. They’ve been good, well-meaning girls all around. Do you ever think about having a villainess as your main character?
That’s one of the novels in my drawer.

Out of all your novels and literary works, do you have a favorite?
Brother, I’m Dying because my father and uncle are alive in there.

Which one do you think would make a great Broadway musical?
Anacaona, Golden Flower, one of my children’s books.

At this point of your life, you’ve written nearly a dozen literary works. Do you sometimes revisit, say, your first book; your second book, and tell yourself, “Ugh, why did I write this! If I were writing this now, I’d do it so differently!” Like, do you wish you could rewrite some of your other earlier books, based on what you know now, as a human being who has done a lot more growing up, and a writer whose pen has gotten more mature?
I can’t even read some of the early work. Most writers will say that. Of course there is so much I would do differently, if I were writing those books now, but I had to write them to mature and that’s how it is.

What’s the most off-the-wall interpretation; wait-a-minute-I-never-intended-for-this you’ve ever had about one of your novels, either from a critic or from a reader?
I don’t consider any interpretation off the wall. When I’m done with a book, I realize it is no longer mine. I might disagree with an interpretation of something, but I never consider it off the wall.

Edwidge Danticat. Author. Wife. Mother. Daughter. Should the word feminist be added to the list of your descriptors?
Wi. Feel free to add it on. I am definitely a feminist.

What do you like to do when you’re not writing?
I spend time with my family. I have two small children, so the “time when I’m not writing” is well accounted for.

What’s next for you?
I am currently editing Haiti Noir 2: The Classics. It will be published in January 2014. It’s a sequel to Haiti Noir, with many older stories. We have stories that have never been translated into English before from Ida Faubert—one of Haiti’s first published women writers—Jacques Roumain and Paulette Poujol Oriol. We also have stories from Lyonel Trouillot, Jan. J. Dominique, George Anglade, and Dany Laferrière, among others. I am extremely excited about this book. I think it will introduce—or reintroduce—a whole new generation of readers to some older as well as contemporary giants of our literature. And just as with Haiti Noir, part of the proceeds will go to one or several grassroots organizations in Haiti.

You can purchase Claire of the Sea Light HERE.

You’ve read her books; you’ve been to her book signings and every time you’ve read a news notice about her winning a literary award, you beamed with pride. Sometimes, you even wish you could be her; or write like her!

Bet you went ahead and tried to pre-order her latest book Claire of the Sea Light even before it was available for pre-order. You’re that obsessed!

I’m talking about Edwidge Danticat, of course.

You’ll never write like her. Yeah, sorry to break the news to you! But fear not, you will be served with a special treat today! Some heartfelt advice from her on writing.

Let’s get started with the questions!

One…

When you’re writing a book, how do you know when you’ve done all you can on it? When it’s arrived to that level where you’re really satisfied with it, since writers it seems don’t think they’ll ever reach perfection?
I know I’m done when I find myself putting in and removing the same things over and over. In other words, when the editing starts getting repetitive, then I know I’m done.

Two…

What do you have to say to writers who feel that nothing they write is good enough?
When I was just starting out, a teacher of mine gave me the best advice on that front. She said, the mind is infinite and there are only so many words in any language. We all sometimes feel like what we write doesn’t live up to what we imagine. You just have to keep trying to get it as close as possible. You learn to write by writing, so keep writing and you’ll get a little better with each piece. As for doubts, all writers have doubts at some point or other, about the story, about the ability to tell it, even those writers who’ve been writing for a very long time.

Three…

What’s the best way to deal with writer’s block?
Read. Change your pace. Exercise. Go to the movies. Do something else. Have some fun. Take a break. Live your life. Sometimes you just need to put some space between you and the work you’re doing. I’ve been unstuck many times while reading. Take the pressure off yourself for a while and in some cases, the flow returns.

Four…

What’s your advice to aspiring writers about perfecting their craft, developing a style of their own and about writing itself?
Read a lot. Read Broadly. And write. Write. Write. You can only become a writer by writing. You can only discover your singular voice by writing your own singular story, whatever that may be. Don’t be discouraged. Keep at it. Remember you’re the only person who can tell the story you want to tell. Others can tell their story, but only you can tell yours.

Are you a writer? Which of these pieces of advice did you find most helpful?

[Photo Credit: Charlotte Christopher]

Cybille St. Aude has a heap of reasons to be proud. She is the author of the kiddie illustrated book Elsie, published as part of One More Book’s Haiti Book Series. The book has plenty of Kreyol words thrown in to help young children absorb the language, and pretty bold illustrations from illustrator Marie-Cecile Charlier.

Born and raised on Long Island, St. Aude is a graduate of the University of Maryland, having filled her brain with all sorts of intellectual goodies from that institution’s African American Studies Department. One hopes that this will be the first of many books to come.

So, you’re actually related to this guy named Magloire St. Aude. I had to do research about him for an article on the site. How cool.

It’s pretty awesome! I hadn’t been informed about the legacy of Magloire until a few years ago and I was immediately inspired. I have a lot of compelling relatives that have made serious impacts on Haitian history, which is really cool. Growing up, I was constantly reminded about my mother’s side of the family—my great uncle is Raymond Cassagnol—and their accomplishments so when I found out about Magloire and another prominent St. Aude, Rene St. Aude of Haitian band Super Jazz des Jeunes—which is my father’s side—I was just excited to be able to trace back some more of my roots. It’s actually a tab bit intimidating but I try not to think too much into it all!

What’s the hardest thing about being a creative person?

Letting go is really hard for me, specifically in terms of writing. There’s a fear associated with creating art that I’m still trying to get under control. In order to do that I have to learn to let go…and it’s really difficult. I make a bigger fuss out of my writing than what is considered healthy and that’s fear slapping me in the face. I’m mostly worried about not putting out good work. I’m sitting on material that I’m just not ready to part with because I’m simply afraid of it. No one wants to suck at anything. Nowadays people are so quick to judge and criticize. They’ve made assumptions about you, your life, your passions and your capabilities before they get through the first paragraph of your work. So being able to to create without shame and being able to tap into all this energy I have is somewhat of a struggle.

The book that you wrote for the One Book series…would you mind discussing how you were hit with the inspiration for it?

I had just returned from a trip to Haiti when I wrote Elsie. My writing experience was very moderated by all the feelings I had while out there. I was volunteering with an organization called the Sanneh Foundation that facilitated soccer workshops and health clinics for kids in Cite Soleil and Delmas. It was my first time traveling to Haiti without being surrounded by family so my trip was unique in the sense that it wasn’t coming from a space of familiarity. It was a new narrative for my travels to Haiti that I was able to transform into a story about some of the people I met along the way. Soccer in Haiti is a pretty big deal, but we didn’t see a lot of young girls participating which was a little upsetting and a major point of inspiration for me to make a young girl the forefront of this particular story.

What can we do to encourage little kids to read more?

I think making literature more of an all encompassing experience might entice children to want to participate more. I’m a purest at heart about certain things but I also acknowledge that kids these days appreciate a more interactive approach to learning and reading, so I think if publishers and companies spent more time and resources on creating a digital platform to co-exist in a way to not destroy the integrity of the longstanding traditions of the print industry then we might be able to find a way to make reading both important, fun and relatable to target audiences. How cool would it be if children could read Elsie the book in school and then go the nearest computer lab to participate interactively by seeing what life in Haiti is like for kids their age, learn some history and do some other fun things, all centered around the story they just read in class! Finding a balance between reality and the digital world could be a huge way to get kids more interested in reading and learning.

Any tips for those who would like to write for the juvenile book market?

I would say that letting your imagination soar and not being afraid to be daring or different could do wonders for your writing and publishing experiences.

Connect With Cybille St. Aude on Twitter | Cybille St. Aude on Instagram | Visit Cybille St. Aude’s Website | Read Her Blog | But Most of All Buy Her Book!

Chapo ba pou Marechal Mimi ak ti Jan (Hats off to Marechal Mimi and Little John) is a Creole language motivational book Atlanta resident François Nau has written to show the importance of education in the lives of Haitians. In doing so, he’s also shown the effectiveness and the potential of Creole as a language tool to instill culture and awareness about Haiti’s past.

Growing up in La Vallée, a small town near the city of Jacmel as the oldest of nine siblings in the 1970s, Nau’s parents did not have the chance to go to school. And so did many of the kids his age, who by the time they were 17, had only two destinies awaiting them: working on their respective families’ farms, or head over to the Dominican Republic to cut cane for the big sugar firms. With that pattern in place, Nau says it took 484 years from the discovery of Haiti in 1492 to 1976, for one of the kids in that remote town to reach the university level. By the early 90’s, only six people have completed their secondary education and went to college. Nau was on the them. Thanks to the tireless efforts of his parents, he attended college and landed in law school in Haiti. He eventually left for the United States, and along with his wife Edith, he instills the values of education in his three children Joe, Chriss, and Belle.

Chapo ba pou Marechal Mimi is more than a motivational book. It’s Nau’s tribute to the people of his hometown, and has reminisces and glimpses of the Haiti of the past, when happiness was achieved out of the simplest pleasures. Nau plans to travel to Haiti to promote the book in his hometown and will be giving out a literary prize in honor of this mother.

Q&A

How did idea for Chapo ba pou Marechal Mimi ak ti Jan originate?
A few years ago, after a long and tough day at work, I came home and was helping my kids with their homework. I was so tired, that I became impatient and hit my son, who was not really into studying at that particular moment. I left him alone for a while, and then call him back so we could continue. He was not ready yet. I became more impatient and gave up on helping him. I went to bed that night with the thoughts that something was not right. It’s my responsibility to help him and missed a golden opportunity to show him that even if he doesn’t do well in school, I’m always going to be there for him.

I started to think of my mother, who every night would sit by the table where I was studying. She would make sure that the lamp was filled with kerosene and that I had enough light to study. When I finish studying, she would make me recite my lessons. For a number of years, I had no idea that she could not read. It took me six years to realize that. Once, she held the book up side down, I thought she was extremely smart to be able to read in it like that. I thought of all the calamities she endured to provide every one of us an education with love and patience. She never gave up on any of us. I cried and I asked myself: What kind of parent gives up on his son this quick? Have you thought of what your mother went thru with you? I started to deeply reflect on our community, our familial background and found out that this woman, my mother, was a hero. With all [due] respect for the other parents, I don’t think anyone has accomplished more than this woman in education. I gathered the information that I could remember and retraced how our family became what it is today. Chapo ba pou Marechal Mimi ak ti Jan is a salute to her vision, dedication and courage.

You’ve chosen to write this book in Creole.
Creole is the language of the Haitian people. It’s been made one of the official language of the land by the Constitution of 1987. But, creole has not been accepted in a lot of circles. The schools that I went to won’t let the students speak creole on the school yard even today in 2012. How absurd is that, they teach creole in the schools; but, its use is prohibited outside of the classroom? Most of the educated Haitians can read and write french, but do they really understand it? All the didactic materials of our educational system are basically in french. Most kids will go home with homework and neither papa nor manman would be able to help them, because they don’t know how to read or write. Even if the students read a text to their parents, that too won’t help because they don’t understand French. Teachers sometimes spend hours preparing courses, but in reality; they’re preparing their French skills; not the curriculum. Interaction is rare and difficult between teachers and students. Reading and writing are not part of our culture. Books are not easy to get or to buy and they are extremely expensive. Books written in French are usually very expensive. If by chance one has access to a book, a dictionary is needed in order to read and understand it. While creole writing is understood as it is read. Creativity is not part of the equation. Most Haitians are very quiet when it comes to write their creative ideas. We, very often, are hit by that French complex that it has to come out perfect. Substance doesn’t matter much, but style. Who wants to see people criticize with disdain their creation? One has to be very secure and strong to face these obstacles.

The main purpose of Chapo ba pou Marechal Mimi ak ti Jan is to thank the Marechal and all the other mothers who like her invested everything in the education of their children. I can’t say thank you to them in a language that they do not understand. I want the ones who can read to be conscientious and happy. I want them to know that they are appreciated and loved in their language as well as their work. Young Haitian children need motivation and confidence to move on and make an impact in that new millennium. If they can’t freely speak their mind, there will not be any tangible progress 50, 100 years from now. I want them to know that the creole language is a safe way to create, speak, communicate, read and write. I want to speak to the people; I have to speak their language, creole.
These are some of the most obvious reasons why Chapo ba pou Marechal Mimi ak ti Jan is written in Creole. Your readers may think that I’m discouraging the youth from learning other languages. Wrong! I, myself, am fluent in 5 languages. I’d like to see them learn as many languages as they can; but, I’d love creole to be recognized and counted amongst them.

Do you think it’s essential for this generation to teach their kids to write and read Creole?
Again, it’s not only creole; they have to be prepared for any circumstances that may arise in life. Communication is so important today, learning languages is essential for this generation. But, if you’re Haitian or have some Haitian background; it’s a plus to be able to use the Haitian language. Creole is now taught in a lot of US Universities. A Creole Academy surprisingly may be established outside of Haiti.

You live in Atlanta, Georgia. How is the Haitian Community there?
The Haitian community in Georgia lately has grown considerably. That may be the reason why Dela Airlines is flying non-stop Atlanta to Port-au-Prince on Saturdays. The area—Acworth—where I live doesn’t really have a unified Haitian community. We are lost in the middle of this huge forest and we are 1000 miles away from each other. Georgia reminds me so much of my village La Vallée that I truly have to keep it in my mind. From the southeast of Haiti to the southeast of the US, I love it.

What’s next step for you in terms of the book?
First, I’ll be in La Vallée in the middle of July for a private ceremony to honor my mother, the mothers and educators of La Vallée de Jacmel. This event will take place at the Auberge Mont Saint Jean in Ridoré. All the school principals and people engaged in education are invited to attend. The book will be presented to the public and the notables of the city. Chapo ba pou Marechal Mimi ak ti Jan is the first book published by a Valléean at this scale. I’ll have the official signing of the book a day later at the primary school Léonce Mégie where I received my first dose of education. I’ve offered the local radio station my first interview, the first book signing event will be in La Vallée as well. I didn’t want to give any interview or to do any signing until the people of La Vallée de Jacmel are served. JEBCA editions, who published the book, is working very hard to promote the book in Haiti and in the US.

Do you have a bilingual version in the plans?
Chapo ba pou Marechal Mimi ak ti Jan is a motivational tool that should be translated in a 1000 languages. I don’t want to be snob; but, I feel that I’ve written a master piece of the caliber of Les gouverneurs de la Rosée.

How do you instill Haitian culture in your kids, and in your own life?
I’m a proud and conscientious Haitian citizen. The insult, calamities and humiliation that Haiti has faced have only increased my love for Her. “Pour le pays, mourir est beau”, I’ll always believe in it. I’m hoping for the renaissance, Haiti will someday reconquer her crown and flourish in the heart of America as she has in the 15th , 16th , and 17th century. I’ve been in the US now for 13 years, but my heart has not come in this voyage. I can’t wait to go back home and serve my Community. I owe a lot to Her. Most people think they can help only by giving; but my plan of action is to help by serving. Nothing has changed in my habits; we cook and eat Haitian food every day at home. Thanks to my wife who is an excellent cook. We speak, joke, read and write creole; the kids with some difficulties, but they are connected to their roots, music, konpa etc……And they go to Haiti once a year.

What was it like moving to a brand new country, and dealing with this new environment?
It was very difficult at the beginning to learn a new system and a new way of life when I came in September 1999. It was the Y2K era. What was I, a peasant from so faraway from civilization, doing in the middle of so much technological confusions? But, after 1/1/2000, it didn’t take me long to establish and reposition myself. Thanks to a great friend Jules Fresnel, who assisted me along the way.

You no doubt have observed Haitian parents with their first and second generation U.S.-born kids. What do you usually observe? What do you think can be done in terms of maintaining Haitian culture?
Unfortunately, we, in the diaspora are the ones apparently who care the most about our Haitian identity. The reason, maybe, is because we’re detached from our culture and we refuse to adapt to this new environment. These facts push us back to our roots to find refuge. The ones who live in Haiti are immersed into the things that we’re craving for every day: labapen, mango, kann, rapadou, pwason boukannen, griyo ak bannann peze, ti poul kreyòl ak pentad wousi, but social unrest, insecurity and political instability do not let them enjoy and appreciate them. It’s very tough for the first generation, because parents like me refuse to admit that we’re here. We expect our kids to be as obedient as we were to our parents. It takes a lot of time to recognize the differences. At first, most of our references to our kids are pulled from our situation back home. At time discontent is very high on both side; but, wisdom prevails in most cases. The second generation adapts more quickly and navigates the two worlds with more ease.

Unlike a lot of other foreigners, we tend to Americanized very fast. We, Haitian parents, are so eager to adapt that our kids mostly don’t have to be around to assist us. More and more people in Haiti are using the American culture and language in their daily activities. We need to reinvent ourselves with the youth and present a new image of the Haitian people and culture. This new image has to be created by Haitians and supported by Haitians every where. We, very often, are more sensitive to helping foreigner accomplish projects in Haiti than helping Haitians.

Did I mention that I’m writing a book?

Yeah, I am.

Mè wi!

I guess I should have brought it up to you beloved Kreyolicious readers some time ago. But, I’m the type of person…I like to keep my projects to myself. No, not because I want to be secretive, but because it’s always better, I think, to talk about something when it’s near completion, as opposed to while it is still in progress. After all, who knows, it may never go beyond the in-progress stage. But then, I’m the type of person who always feels an obligation to finish what she starts, and not to undertake what she thinks she may not finish.

This said, I am writing a novel, and guess what? You guessed it. It’s about Haiti. The said novel is actually drawn from one of my screenplays. I thought: I might as well. I felt that since I have a screenplay, the work is half-done, or partly done already, so why not give it that special spin? For those of you who are familiar with the screenplay form, you might know just what I mean. For those of you who may not be, here is the thing: A screenplay tells a story in images, and a screenwriter is supposed to avoid all bombast, all overly descriptive passages. A screenwriter has to tell a story in approximately 120 pages for a two-hour film, whereas someone like my late comrade Count Leo Tolstoy can sit and write a 1300-page novel with all sorts of flowery language describing human nature and human actions. Meanwhile, screen scribes like Tina Fey, Diablo Cody and Mara Brock Akil have to walk on eggshells so as to not violate the screenplay length. A script can’t go on forever!

Well about that novel, that Haitian novel, it’s definitely been an exciting journey. I’m finding that turning the script into a novel is making me revisit the story and the characters. It’s only actually helping the screenplay itself, because it’s making me see aspects of the screenplay that needed to be strengthened, for one. As a matter of fact, once I complete the final revisions on the project, I will do another revision of my screenplay’s final draft.

I’ve always thought of doing a book to go with the site, but I always thought it was going to be a photo book or a non-fiction project of sort, and that’s still under consideration (see I am telling you guys about yet-to-be-achieved plans).

It’s been a very exciting process. Oh, wait. I said that already. Well, it is. So exciting, that sometimes I feel like dropping everything else that was going on in my life. I’m some nerd, some dork; don’t you agree? Are you not in agreement? Now that latter sentence sounds more novelish and highbrow. Tee hee. When the novel writing was still in its early stages, I was already feeling that it was helping me gain this new perspective on the screenplay.

For the screenplay, I had to develop all this background, all this back story for the characters. This part has always been fun. For the novel, I had to elaborate on a lot. What I had to summarize in one word, in a sentence or two in a screenplay, I have to write long passages about in the novel.

It’s almost as if I had to reteach myself the art of the novel. When I was little, I always had this fantasy about writing a book. Then I discovered movies. My peeps would groan when they had to drive me to the library to return movies. After I watched countless movies, and learned the language of movies, I really didn’t think about becoming a novelist much anymore. I wanted to be a screenwriter really. So, basically all that information that I had read in these how-to-books from the library just evaporated, as I read Syd Field’s classic screenwriting books, Screenwriting for Dummies, and The Idiot’s Guide to Screenwriting. So when writing a novel, you have to spell out things for the reader, whereas with screenwriting you are depending on the viewer’s absorption of the images on the screen. The pictures, the expressions on the actors’ faces, the codes, the overall visuals—essentially tell the story.

Guess at this point, I should tell you something other than the fact that the book is about Haiti, right? I could describe this book in so many ways and from so many angles, and you’d think I was talking about several books. On one hand, it’s about Haiti in the 1980s (well, now you know it’s a historical novel). It’s about four women living in Haiti at the time, from the different strata of Haitian society and how their lives intertwine. One character is this girl from the boondocks who goes to the capital city in search of a better life. Another is the seed of the Haitian elite, and yet another is a member of the little bourgeoisie, and the fourth is the daughter of an exile.

As you can tell from reading this site, I love, I absolutely love to do research. I love to read about history. I know that part of a novelist’s job is to create this alternate world, but of course it must always be real. So I had to do a lot of research to know what was going on in Haiti at the time (the 1980s). One of the things that I came across was that in the 1980s, Haitian farmers had to deal with the slaughter of their pigs, and that was economically devastating. There were some hurricanes during the decade too, that killed people, and devastated farms. Since the background of one of my protagonist’s family is farming, I thought that was good to know.

And you know something? The more I read about Haiti’s past, the more I realize that the Haitians I grew up with, the Haitians I had around me, are nothing like the Haitians in Haiti. Does that make sense? Like, the Haitians in the United States are just a sample of Haiti’s population. Haitians are not this one-dimensional group of poverty-stricken, just-waiting-for-a-hand-out-aid-package that they’ve been portrayed as in the media, thank you very much. There’s been millionaires, architects, communists, military men, entrepreneurs, slaves who became kings and emperors, men that were born with nothing, who went on to become presidents. If Haiti hadn’t had all these periods in its history when so many had to go into exile, I wonder how things would be. All that brain in one place. But the brains are scattered. Doing these Haiti History 101 segments have been a real treat; each one has been an eye-opener. There’s been times when I’ve found out things that have made me just stand in front of an archive screen with my mouth dropped open, or in front of a book with my eyes fixated on a revelatory sentence. Sometimes what takes a reader to read in 5-7 minutes, I had to sit and research for 5-7 consecutive days, assembling different sources, citing them, thinking of the right angle approach, and everything.

Now I was talking about my novel and screenplay. How did we jump to history again? Okay, no matter. Back to the subject of the novel. Yeah, um, I’m really going all out with this. Would you believe that I’ve been researching book cover design, have been searching through archives for photographs that would make a great book cover, when I should really be studying?

My screenplay has a title, but I don’t know. I wonder if I’ll keep that same title for the novel. It would make sense to, and I would want to. I’ve played around with a few other titles. Not sure if they’d make the grade. I’m trying to avoid having the word ‘mountain’ in the title. So stereotypical. But then again, the word Haiti itself does means “mountainous land”—there’s no escaping that. But at the same time—

We’ll revisit this novel thing again. I just wanted to let you in the fact that I’m writing one; that’s all.

Are you writing a book? Are you writing a novel? Stop thinking about it, and get to it!

Sexual abuse is ugly. It’s no wonder no one wants to talk about the matter, and when it is talked about, codes are used, voices come down to a whisper. Growing up in a Haitian-American household, Vie Cine (Ciné) suffered sexual abuse. Years later, she’s written Memoirs of A Forgotten Child, an autobiography that she hopes will help others who have experienced sexual trauma know that there are better days ahead of them.

Kreyolicious: When you set out to write your book, were there times when you had qualms about the subject matter?
I had qualms before writing Memoirs of a Forgotten Child. I felt like most people; my life is private and that it’s no one’s business. Also, I didn’t want to offend my family, but as I committed to telling my truth, I didn’t focus so much on what anyone closely related to me had to say but more so on the impact that my story would have. It’s kind of a double edge sword. You want to be as authentic as you can, but you don’t want to delve into too much information were you reveal certain conversations, events, or stories that may not benefit the flow of the story or it’s not your story to tell. Having a set structure on what I wanted to share and how much I wanted to share kept the story grounded as to the purpose of Memoirs of a Forgotten Child. This book isn’t an exposé book to besmirch anyone or to be used as propaganda to disparage Black people.

Kreyolicious: Memoirs of a Forgotten Child is the title of your book. Rather interesting. How did you come up with it?
I was thinking of a name that accurately summed up my life from 0-13. At the time I discovered a YouTuber named Issa Rae and was trying to do a spin-off title of her webisode series Awkward Black Girl, but it didn’t form well. I felt forced and complicated. I told myself in due time I’ll figure it out. It’ll just come to me. Fast forward to roughly six months…I was talking to an associate who asked me about the synopsis of my book. I described Memoirs of a Forgotten Child as “a memoir based on my life”—because as a child—I was forgotten.” Then it came to me like a brightly-lit light bulb representing a brilliant idea. Memoirs of a Forgotten Child became the book’s title.

Kreyolicious: What reaction have you gotten thus far from readers?
From the excerpts I shared on Instagram and Facebook many readers felt empowered by Memoirs of a Forgotten Child because they could see themselves in my story regardless of gender and race. One woman commented on a post that I was telling her story. That’s what I wanted to get across that we all may have different backgrounds, but we all faced the same result, trauma. I didn’t want people to get wrapped up in the characters, conversations, and grammar but more so on the events that took place along with how it affected my upbringing as a survivor.

Above: Vie Ciné on her way on the road to healing…

This concludes PART ONE of the interview with the author…LOOK OUT for PART II! Meanwhile, if you know someone who grew up in the Haitian-American community (or any other community for that matter), can you please direct them to this article?

CLICK HERE to learn more about Vie Cine!| CLICK HERE to purchase her book | CLICK HERE to check out her videos on Youtube!