The 2012 Guyana Prize for Literature (Part VIII)

(Extract of an interview with Ruel Johnson, Georgetown, Guyana, October 2013. Johnson is a poet, fiction writer and editor. He won the Prize in 2002 for his first collection of stories, ‘Ariadne and Other Stories’, and now for his manuscript, ‘Collected Fictions’.)
PP: OVER the years, I’ve had the opportunity of examining the Guyana Prize for Literature, and have written on various aspects of the Prize. One of the more intriguing aspects of the Prize is the judges’ report. And, very often,

that report is in keeping with the final pronouncement [the announcing of the winners]; but on many occasions, some of the reports seem contradictory. We will not, however, examine the Prize on this occasion, but will take another look at your work.
Ruel, congratulations on winning the 2012 Prize with your manuscript, ‘Collected Fictions’. This is your second win; first in 2002, and now in 2012. Additionally, you still hold the title as the youngest person to have won the Prize.

RJ: Let’s hope next time someone else captures that title…

PP: And it may very well happen, if we are to go by what took place this round: Four locally-based writers won in various categories. Significantly, three of the four entries were manuscripts: Your manuscript, ‘Collected Fictions’; Mosa Telford’s ‘Sauda’; and Cassia Alphonso’s ‘Black Cake Mix’.

RJ: We should also note that Ian McDonald’s book was locally produced by the Moray House Trust, and done largely by amateurs.

PP: Let’s look again at something you said earlier: That soon, another local writer may be able to boast of being the youngest to win the Prize. You and I know this is possible; this could happen sooner than later, because we have our fingers on the pulse of emerging writers: You, through your literature projects, and I through mine. So I am looking forward to what the next Prize will throw up. Wow! Four of the five wins going to local writer!

RJ: You who are keeping tab on the Prize would know this is unprecedented. Historically, it was skewered in the other direction. For me, this is a sort of indication that what is produced here is of a high quality. Despite my criticism of the Prize, I know the formula for judging is consistently of a high standard. So the people judging the Prize will consistently bring to bear the same criteria and qualifications as when judging literary prizes from elsewhere. So, the fact that works based here have swept the Prize is an indication that what is produced here is of an internationally high standard.

PP: It is not in good taste to point your finger at the judges; they were selected for the task because of their ability to carry out their mandate.
Let’s go back to that moment: The announcement of the winners. The chief judge had a lot to say about your work. I was sitting next to you, watching you, but I want to hear from you how you felt at that moment. Let’s hear what he had to say first, then you could respond.
This is what the chief judge, Prof Jane Bryce, had to say:
‘Collected Fictions’ displays a variety of techniques and approaches, some of which were better than others: First-person memoirs, satire, humour, bathos, pathos and allegory, and an experiment of transcription from technological media.
The collection treats familiar themes such as racial and political tension; relationships and displacement; the effects of emigration with the originality of expression and the consciousness of the writing process…it makes good use of interiority , point of view, and good use of linguistic registrar.
However, there were some lapses in judgment. The stories that stand out are The Last Assassin. Paternity Text, and April do so all the more against weak pieces like a transcript and an instant messaging conversation …and a misjudged Harris quote.
Now, your response.

RJ: Truth be told, they actually gave you a heads-up before; a few days before, but the information was embargoed. So, I went there knowing that I had won. How I felt? I said this before, at the risk of sounding arrogant: I entered to win. I prepared well, and entered. Meaning, I made a fair assessment of the other potential field, and found that my chance was good.

PP: Apart from doing your research, your groundwork, let’s now go to your writing. The writing was intriguing, because it wasn’t an easy read for me; I had to be guided by some signposts you planted in the book for the reader; they were used very effectively by you as the writer, and they were put to very good use by the reader.
The very first signpost came by way of the words of Philip Roth, who said, ‘I write fiction, and I’m told it’s autobiographical, I write autobiography and I’m told it’s fiction, so since I’m so dim and they’re so smart, let them decide what it is or it isn’t.’
I used this and other signposts to get through your work. Why did you use signposts?

RJ: ‘Fictions’ took a fair amount of time to write, and it was a collection that was constructed over a good period of my life. And, as a writer, you write what you know.

PP: Basic rule.

RJ: Much of what you know is reflected through the prism of yourself, and that has evolved over the years as a fiction writer; my writing has become increasingly meta-fictional, because I have become consciously engaged in the act of writing; and that doesn’t ever get out of my head…

PP: So, it is consciously here (pointing to the heart), until you consciously put it down on paper.

RJ: Yes. And at the end of the day, what you are writing is fiction, but what is seen is purported to be your own experience. I think the label of autobiography tends to be attached to it, which may not be that simple.
An autobiographically intent is to say yes, and keep as true to the fact as far as possible, which was not what I was doing. What I was doing was using the raw material, like a newspaper account, to reproduce a story for a particular purpose; to illustrate or make a point.
You could use your own life, but at the end of the day, it is fiction. A lot of writers have done this down the years, from Henry Miller to Borges, whose work had inspired the naming of ‘Fictions’; and Roth too… For me, putting this together in a subtle and glaring way was an exciting act.

PP: Fact and fiction are closely related. You mentioned Borges, who wrote an exceptional book, ‘Ficiones’…

(To be continued. To respond to this author, either call him on (592) 226-0065 or send him an email: oraltradition2002@yahoo.com)

WHAT’S HAPPENING:

• ‘An Introduction to Guyanese Literature’ is now available at the National Library. This book is an up-to-date guide, featuring significant literary landmarks, from the 16th Century to the new millennium. This 150-page book, including over 100 photographs, is an attempt at bringing to the fore little known facts about lesser known aspects of our literature. The big books, the big authors and the big success stories in Guyanese Literature are also featured.