THIS WEEK
Black Focus Opinion
Ashley Thorpe
My desire to shine a searching light on all aspects of African-Caribbean cultures fires the modernity of my middle-grade fiction
A modern traditionalist M
years and across oceans: that of oral tradition. In many African and Caribbean cultures, it’s been the
art of verbal storytelling, rather than the writen word, that has transcended generations. That act of communal storytelling was part of my grandad’s childhood, and he brought that with him from Jamaica. Many people in the communit of Scot’s Hall, where his own father came from, were direct descendants from Ghana where Anansi originates. But these stories have less prominence in my parents’ largely British experience, and so as my gran- dad’s generation passes, the stories can disappear with them. As a new children’s writer, it’s a desire of mine to reassert this tradition, and to keep not just our folk stories but our histories alive for generations to come. Fast-paced fantasy adventures are a great vehicle for achieving that. My début novel The Boy to Beat the Gods takes inspira- tion from the incredible Yoruba spirits—the Orishas. I’m part of the African diaspora—West Africa via the Caribbean—but over generations so much rich history and culture has been lost to us.
Since my A-Level days I’ve found joy in actively trying
to learn about and reclaim that missing connection. Learning about the Orishas was no exception, and I knew that I had to write a story about these incredible spirit deities eventually. My story takes cues from the lore surrounding the most popular of the Orishas but with an emphatic twist that, in this fantastical world, they become the powerful antagonists our hero Kayode and his allies must overcome.
12 31st May 2024 LAGOS, NIGERIA: CITY OF STORIES But I also recognise that ancestry isn’t the same as
y grandad is one of the finest storytellers I know. As a child I loved listening to him tell all kinds of tales, including those about that most famous of African- Caribbean folk heroes: Anansi. There was a childish glee about my grandad’s performance that I could connect with beyond the many years that separated us. As I’ve grown older, I’ve oſten thought about how my grandad engaged in a tradition that stretches back thousands of
Making space for global majority narratives in fantasy, and challenging the Eurocentric perception of fantasy, is an ongoing struggle
identit. At the end of the day, I’m still culturally British, and there’s a level of care that has to be taken when you’re distanced from aspects of your heritage but in a position to shape young minds. Although the existing lore of Orishas such as Shango, Eshu and Yemoja has informed character traits and decisions I’ve made in the story, out of respect to those around the world who still actively worship them, I changed the names of the Orishas on which my characters are based. At the heart of everything I write is the desire to shine a compelling light on amazing aspects of African-Caribbean cultures: histories and traditions, mythologies and lore, that children in the West might otherwise not have easy access to. It would be amazing to one day see kids dressing up as Shango alongside Thor on World Book Day.
Ashley Thorpe’s first middle-grade book The Boy to Beat the Gods publishes on 4th July with Usborne.
Mythology now When it comes to mythology, everyone knows the Greco- Roman canon in some respect—either through direct studies or simply through osmosis. The Trojan Horse and the labyrinth, for example, are prety much part of our collective consciousness in the West. Over the past few years, Greek retellings have gained prominence and popularit from YA to adult. At middle grade, though, the same span of time has brought a wealth of stories, oſten from début authors, allowing younger readers unprecedented access to mythology and folklore from many cultures that represent modern Britain. Never has the offering to readers at this age group been richer than it is now, and it will be an honour to become a part of that. But even so, there are still hurdles writers, especially of colour, have to clear. Making space for global majorit narratives in fantasy, and challenging the dominant Eurocentric perception of fantasy, is an ongoing struggle. When the industry discusses what makes an instant clas- sic or which titles are considered part of the canon of great children’s literature, there are very obvious exclusionary trends. In the same way that the European classics hold more prominence and presumed prestige than the myriad African deities and spirits that have existed in stories for just as long, the default mindset must be challenged when it comes to our literature. Thankfully, we have a raſt of fantastical stories and series from Black writers old and new to champion.
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