Interview with the Eritrean Author, Beyene Haile
For Menesey Magazine
(Translated from Tigrinya by Beyene Haile)
Q1. Is your work of art intended for the society? If your answer is yes, why do you complain for not being understood only to do all over again the same thing?
Binyam Fisehazion
Dessale Bereket
Beyene Haile: Works of art in general and literature in particular (being the subject of the major part of our discussion) is the quintessence of our being. Not only is it the sum total of our experiences and beliefs, it is the outcome of our future yearnings as well as the picture of the inner forces that trigger us to go for our wishes. This being the case, it is the collective force of these elements that brings forth the style, creates the method, crafts the language, and reveals the secret of life. I have never grieved for not being understood by people because I only invite readers to see my world. This being my belief, I have felt free to write and will still write without any pang of conscience and fear. My task is to remain true to myself and to others.
Q2. What is your estimation of readers understanding your style?
Solomon Tsehaye
Beyene Haile: Those who chat with me about my writings are expressing their love of my style. Quite a number of them tell me that my style has guided them look into a new way of seeing. There are also some who give me credit for a new language and outlook. As could be expected, the level and status of readers understanding maybe different? Of course, some have expressed failure to comprehend.
Q3. How do you evaluate the style and manner of writing in our country?
Yeshak Abrham
Beyene Haile: I have not made a serious study about the kind of writing we have here. I enjoy appreciation than evaluating. I try to direct my main energy at the process of creating. If I get some time in the future, it would give me pleasure to try my hand.
Q4. You write books and plays without plots. Why?
Solomon Dirar
Beyene Haile: Subtle as it maybe, perhaps there are concatenations of narrative interrelations following one after the other, running and turning coincidences having a beginning and an end, and silently telling stories. Those in my creative writings, while looking for their true selves, fumble for ideas, feelings, actions, and dreams to tell their stories. The decisions their freedom impose may indicate their destinies signifying their beginnings and ends. If plot is the road stories trudge on, the narrative in my novels may indicate signs or marks of inner spirits shuttling to relate their stories. However, the physical footprints may not be visible.
Q5. The manner of writing that you follow has an unbridled flood/flow of ideas. Some of it approaches reality. Is your philosophy oriented to pass messages from a society to society or used to send out ideas to the society?
Tesfaalem Gebreselassie (Chaare)
Beyene Haile: I cannot derive any meaning identifying what you refer to as the ‘fenue’ or ‘lieta’ probably referring to the spontaneous flow of emotion as opposed to the reluctant reality. I wish that what I intend to describe flows like a flood gushing out from within me. I would indeed feel elevated if I were to be like a source of a strong flood that brings forth all that I wish to say. Are we to describe art as ‘real or reality’? I wonder if there exists an art that is not real. I do not believe so. I am waiting for a wild flood to drive out all that is left unsaid but need to be said. I am not clear on what is meant ‘author passing messages from society to society, or author passing messages to society’. Whenever I produce an art product, I wish to talk about it with people. I always say ‘This is my world, come dream with me.’
Q6. You try to answer political issues through philosophy. Is this possible?
Eyob Beimnet
Beyene Haile: Although we might need the opinions of rare experts, it is possible to think that the art of politics is derived from the chest-bones of philosophy. And I do not believe that the science of politics may wish to isolate itself from its main source, philosophy. In my writings, I search for the ephemeral beauty that eludes my grasp through the generosity of my dreams and wishes. I do not think that mundane philosophy will heed to my directives if I try to use it for the routine. Seeing the limitations of political affairs, I do not bother to answer them. In order to invent and to create, I see beyond philosophy and politics. My interest in the life of people is directed at finding the meaning of life.
Q7. The substance of literature lies in its message and not on mere power of words. However, your writings are bent on the force of words. Why?
Shimondi Ande Mariam
Beyene Haile: I do not want to ask the author of this statement. One can imagine how an author would respond if he were to be informed, ‘The message you expected to be communicated by words has failed to reach the readers. Why do you use words for this purpose? Are you short of other means of communication? Why was your message thrown on the way?’ We can playfully envisage what the dumbfounded writer may respond. In his confused state of mind, he would say, ‘ If the words, failing to carry my messages, find themselves scattered over the artistic sea of my creation, readers will come across words that do not contain messages. I wonder how else I could have dispatched messages other than on words. Aren’t the message words and messages words? Who could possess the skill to lead one discover messages hiding in the beauty of words?’ Saying this, the author would probably laugh in surprise.
Q8. To which period of time is your writing directed?
Michael Berhe
Beyene Haile: To eternity! And since this moment is a part of eternity, to this moment!
Q9. You hate the intelligentsia and teachers. Why?
Muluberhan Habtegebriel
Beyene Haile: Then why don’t I hate you? Why don’t I hate myself? Yet I am an intelligentsia and a teacher to boot. I have only tried to say, ‘Let us know more than we do! Let us serve more than we are. Let us invent! Create! Let us not stand on the course of change!’ This message is not new. Many have said it. Oh! How many writers!
Q10. Who are you?
Zeresenay Tesfay
Beyene Haile: Your brother! Like you I am in the world traveling to find another world through art. If you tell me that you have found yours and wish to abandon the search, I will just continue. I do not say that I am cursed or blessed to open the curtain of beauty. There is nothing sweeter than the journey one makes to find oneself. Sometimes during the eternal journey, I will call if I see a work of art that points at the truth so that we may laugh together.
Q11. You are a writer, a consultant, and a painter. How do you reconcile this?
Adib Abdu
Beyene Haile: There is no need to reconcile. There is no difference. Let us wish to see the last of the disintegrators. Art learns a lot from nature and nature takes a lot from art. I use artistic productions in the service of management and those who stand by me in practice are on the rise. Then I will strengthen the bond between peers and friends by creating common grounds for art and management. Since I have recently been requested to facilitate a workshop in one organisation, I am preparing myself to take the occasion to interconnect art and management.
Q12. Your philosophy of art and your outlook of life have not registered a marked change in the last forty years. How old does Beyene Haile stay in the process of this journey?
Abrham Tesfalul
Beyene Haile: There are some who turn old before they grow up. And their artistic productions hardly multiply. Some take no grant from time in their quest to capture the shadow of beauty they had once snatched. They always keep on renewing their wisdom. The weight of time is no measure of prudence and brevity does not indicate imprudence. It all depends on the grace bestowed from somewhere. Inventors and creators abound in all age groups. There is no intrinsic value in the excess or shortage of years. It is not a source for pride or shame. My age is my wealth and my love.
Q13. Were you writing in the space of time between ‘Is He Mad’ and ‘Tiberh’s Boutique’?
Sandiago
Beyene Haile: There are few poems and short stories left to bear witness to the times. More poems exist than other texts. The unfinished and unperformed plays or scripts and unsung songs maybe lying squeezed into a tight corner of memory. The lingerers are many, waiting for their cue. Texts then uncompleted are still lying idle. Although I had diverted my strength towards painting, my literary drive had never stopped being my constant companion in life. It had always been in me, always regenerating, spreading, and flowing in the depth of my being. It has started to flow when it confronted the light of freedom. I pray that a power more than I can resist will help me push out the major part of my unrealized creativity.
Q14. Do you plan to render your book in the form of essays?
Khalid Abera
Beyene Haile: An essay analysing the conception and creation of my novel ‘Is He Mad’ (An Author In Search Of a Character) has been recently published in the US. The book entitled, The Road Less Traveled (Reflections On the Literatures of the Horn of Africa), has been edited by Ali Jimal and Taddesse Adera, Red Sea Press, Inc 2008.
I am currently preparing an essay or a booklet about life and literature to serve as a material for our dialogue. Since my contribution could hardly satisfy the demand, I hope others could rise to the occasion.
Q15. How do you describe the youth of this generation.
Tedros Markos
Beyene Haile: This is a big question. This is a generation born and raised during a grand historical juncture surrounded with opportunities denied to his predecessors. Since he is the child of freedom, I can’t help worrying when I observe the prevalence of imposters claiming to be peers. The young maybe surprised when those they expected to provide indulgence and education change roles to act younger. It is a unique generation that arouses envy. It has a rich challenge to deal with. Since their friends and foes exist in large numbers, the new generation must use a more subtle and advanced knowledge to discriminate the meaning of life. As I have tried to pinpoint in my play ‘Heart to Heart Talk’, it becomes them to say, “We have to be old philosophers in the naivety of our youth.” I hope that the youth will possess the ability of a young-wise person to say, ”Nothing stands between me and my sun. You cannot fool me with vain selfishness.”
Q16. You once said that you wrote ‘Tiberh’s Boutique’ (Dukuan Tiberih) for the young. What did you mean?
Abdelkadre Ahmed
Beyene Haile: My novel is generally meant for those who say, “My cup does not run over with knowledge.” I wished it to be a book that triggers the past to confront the present and the future. I prepared the story to burn down the lock of slavery and swampy ideas with myriad colours. I built the story with a wild love so that we could create a civilization of hope out of the ashes of our dissipated past. Since the readers should be the children of the future, I wrote it with the youth in mind. It never crossed my mind to think of persons reprimanding me for writing to their children. I thought the parents could read with their children. I also wished that the adults could actively participate in quenching the thirsty questions of the youth and equally play in the process of inventing, creating, and building a new civilization.
Q17. Which media do you prefer to pass on your messages?
Mesgun Zeray (Wedi Feraday)
Beyene Haile: I wish to prepare a film script after a good talk with you. Although I dare not claim to have messages, I select a media depending on a passing whim or a spontaneous attraction of a channel fit to build a story.
Q18. Are the philosophical ideas you use for your novels and plays yours or of the past?
Tedros Markos
Beyene Haile: I cannot say if I follow any philosophy be it mine or of the past. I do not wish art to be subservient to philosophy. I say that it possesses its own (‘raison d’etre’), being and has the power to energise philosophies.
Q19. Are there writers who influenced you to write the way you do?
Sandiago
Beyene Haile: Many have influenced me. In addition to creative writers, the contributions made by writers of various streams and rivers of knowledge are immeasurable. With hunger and thirst, I have voraciously swallowed and chewed the cad. Having assimilated their works, I did not bend to serve them. I immediately declared my independence and created my style.
Q20. A writer is a communicator. Should he not write/present in clear terms? Or! Do you want to see the suffering of readers trying to understand you?
Eyob Beimnet
Beyene Haile: Why do we want to confine a writer within a narrow fence of perception? Could we find a writer who is comfortable with this statement? Who is to communicate with whom? Then when is the writer going to create? It is with the density or sparcity of meaningful colors that he helps us see the unseen and grasp the illusive. When is he going to be crazy with love and to jump with full freedom to create?
Q21. In your writings and conversations you excessively mention the young. What is your vision of the Eritrean youth?
Abrham Tesfalul
Beyene Haile: Because it possesses opportunities that were never given to other generations, it is a generation of edification. I see it building a new world. I see truth, love, and beauty reigning. In my life time, I envisage the young gathering from all corners of the world to build the stage of infinite possibilities, growing to elephant-size with the philosophy of the flowering stone and the wisdom of Video and inviting me to see the stage. That is why I want to stay near. Who knows if the young build the statue of Hirity and possibly that of Mezgebe and invite me to go and see?
Q22. What philosophy of writing do you follow and pursue? What is your fundamental message?
Khalid Abera
Beyene Haile: There is no philosophy that I can say I follow or pursue. It is love that guides me. I try to express my love and yearning and not my message. I follow my own. The message I keep repeating has been: ‘Let us create!’ ‘Let us innovate!’
Q23. What is your opinion on the rules of writing?
Petros Menges
Beyene Haile: I believe that rules should be studied and properly collected. It is good for both writers and readers. However, I do not wish rules to stand on my way. Nor do I stop worrying if the regulators block the freedom of styles.
Q24. Can a person who does not read write the way you write? (Your kind of writing)
Tesfaalem Gebreselassie (Chaare)
Beyene Haile: Why should one care to write like I do? In the novel ‘Is He Mad?’ The uncle of Mezgebe, Tesfay, said, “Is it not enough to sacrifice one Mezgebe?” I wish to see writers who write much better than I do. Such writers will come when they dig and find their real selves and, when they courageously see their vision. It is useful to read, but I do not equate more reading with writing. Oh how much we read thanks to books and the internet. The call of writing is not mere reading. Since there is sub-super- sound, there is the need of wise persons endowed to listen. If the young start to improvise ‘masse[i]’ and ‘weye’, they would have started to say the impossible. Is it not possible to surpass rap and hip hop?
Q25. Is The Long Wait for Bahgu a continuation of Tiberh’s Boutique? What is their difference?
Tesfaalem Gebreselassie (Chaare)
Beyene Haile: As we always promise, we may have to sit and talk. The two novels are differentiated by a dark and faint meaning of colours. They are also separated by a long span of time. The ages of innocence and maturity tend to pull them in different directions. It is well to answer if it is a happy journey moving from a stage that presents Habte for laughter to a stage that shows Mehamed Edris digging for truth in a heap of wasteland.
Q26. Having begun your text, do you go on finishing or go back to revise it? (You have dense ideas that are constantly repeated)
Tesfaalem Gebreselassie (Chaare)
Beyene Haile: The text is painted with the density and repetition of colourful ideas. Density and dispersion take turns in building the story to a crescendo of fulfilment. Repetitions, like the rondo in music, are constant reminders of unity in diversity of sounds and tunes, ideas and emotions, and art and life. If I go back to the text, it is with the intention of enriching the unity of its embrace, goading the wild flow of its dreamy courage, applauding the novelty of its vision.
Q27. What should a person do to become a good writer?
Adib Abdu
Beyene Haile: The question is extremely vast. I do not believe that a single accepted answer exists. On my part, I am preparing a booklet that could play a part in answering such questions. As for you, I advise you to write and to read. To avoid ideas that block your way, have confidence in the power of your imagination and creativity.
Q28. You say that you are after love and truth. In your view what are love and truth?
Debessay Woldu
Beyene Haile: I do not think that I view love and truth in any different light than yours. Perhaps they are the same to all of us. Since I believe they should be in works of art, I keep repeating them. I have an expectation that art could create beauty if it springs from love. When I say creativity than imitation, becoming rather than living, leading than following, etc, it seems to me that interrelating it with truth, love, and beauty would be good. When the young get the opportunity to ask me, I will dwell on it at large. Since you are adults, I am forced to leave it at this level of intimation.
Q29. Why don’t you translate your works in English?
Petros Menges
Beyene Haile: This is our common wish. The problem lies on how we go at it. Many suggest that I do the translation myself. Since my writings are made up of a concentration and spread of pictorial meanings reflecting a bold and faint shade of life, they need the mastery of both languages. I do not give up hope that those in Europe and other lands may render them in various languages. However, I cannot help asking, ‘When would they master languages! When would they start to love art?’
Q30. When you see the youth through art, how do they look to you?
Girmay Abrham
Beyene Haile: In my play ‘Heart to Heart Talk’ you are heard saying, “We shall migrate inside ourselves when we delve into the recesses of our being and explore the wealth of our potentialities.” I hope to see you use any form of art to create and to invent saying, ‘We will look this way when we sink into our inner being. We will look that way when we go back to our true self.” Believing of an imminent realization of such a wish, I sing with our beautiful singer repeating, “This will come true, why not?!”
Q31. What is the message to the young of Heart to Heart Talk drama?
Beyene Haile: It says a lot to the young. One of it, “When you proudly stroll Harinet Street, please talk about art sometimes. Talk about the art that should be. Talk not only about living but happily about becoming. Drop down the routine and opt for the real heart to heart talk.”
32. What do you want the young to be?
Beyene Haile: A builder! In my writing, painting, and in dialogues of management, I talk about the building that is yet to be constructed in the future. I say, ‘please show us the stage of infinite possibilities while we are still alive. Wherever you maybe, getting together the wealth of your creativity, build it in unison. The philosophy of flowering stones and the wisdom of Video[ii] will be of some use. Do not look down on imagining, creating, and elephantizing [iii]with knowledge, wisdom, and skill.
Beyene Haile
February 17, 2008
Embatkalla
***
[i] Masse, Weye, spontaneous outpourings of oral poetry improvised to mark a significant occasion such as wedding and hilly and mundane festivals
[ii] Philosophy of the Flowering Stones, Wisdom of Video, turning into or becoming an elephant, or elphantizing etc are concepts from the novel, Dukuan Tiberh
[iii] In Dukuan Tiberh, to be an elephant means to be knowledgeable and capable of performing great things
(Translated from Tigrinya by Beyene Haile)
Q1. Is your work of art intended for the society? If your answer is yes, why do you complain for not being understood only to do all over again the same thing?
Binyam Fisehazion
Dessale Bereket
Beyene Haile: Works of art in general and literature in particular (being the subject of the major part of our discussion) is the quintessence of our being. Not only is it the sum total of our experiences and beliefs, it is the outcome of our future yearnings as well as the picture of the inner forces that trigger us to go for our wishes. This being the case, it is the collective force of these elements that brings forth the style, creates the method, crafts the language, and reveals the secret of life. I have never grieved for not being understood by people because I only invite readers to see my world. This being my belief, I have felt free to write and will still write without any pang of conscience and fear. My task is to remain true to myself and to others.
Q2. What is your estimation of readers understanding your style?
Solomon Tsehaye
Beyene Haile: Those who chat with me about my writings are expressing their love of my style. Quite a number of them tell me that my style has guided them look into a new way of seeing. There are also some who give me credit for a new language and outlook. As could be expected, the level and status of readers understanding maybe different? Of course, some have expressed failure to comprehend.
Q3. How do you evaluate the style and manner of writing in our country?
Yeshak Abrham
Beyene Haile: I have not made a serious study about the kind of writing we have here. I enjoy appreciation than evaluating. I try to direct my main energy at the process of creating. If I get some time in the future, it would give me pleasure to try my hand.
Q4. You write books and plays without plots. Why?
Solomon Dirar
Beyene Haile: Subtle as it maybe, perhaps there are concatenations of narrative interrelations following one after the other, running and turning coincidences having a beginning and an end, and silently telling stories. Those in my creative writings, while looking for their true selves, fumble for ideas, feelings, actions, and dreams to tell their stories. The decisions their freedom impose may indicate their destinies signifying their beginnings and ends. If plot is the road stories trudge on, the narrative in my novels may indicate signs or marks of inner spirits shuttling to relate their stories. However, the physical footprints may not be visible.
Q5. The manner of writing that you follow has an unbridled flood/flow of ideas. Some of it approaches reality. Is your philosophy oriented to pass messages from a society to society or used to send out ideas to the society?
Tesfaalem Gebreselassie (Chaare)
Beyene Haile: I cannot derive any meaning identifying what you refer to as the ‘fenue’ or ‘lieta’ probably referring to the spontaneous flow of emotion as opposed to the reluctant reality. I wish that what I intend to describe flows like a flood gushing out from within me. I would indeed feel elevated if I were to be like a source of a strong flood that brings forth all that I wish to say. Are we to describe art as ‘real or reality’? I wonder if there exists an art that is not real. I do not believe so. I am waiting for a wild flood to drive out all that is left unsaid but need to be said. I am not clear on what is meant ‘author passing messages from society to society, or author passing messages to society’. Whenever I produce an art product, I wish to talk about it with people. I always say ‘This is my world, come dream with me.’
Q6. You try to answer political issues through philosophy. Is this possible?
Eyob Beimnet
Beyene Haile: Although we might need the opinions of rare experts, it is possible to think that the art of politics is derived from the chest-bones of philosophy. And I do not believe that the science of politics may wish to isolate itself from its main source, philosophy. In my writings, I search for the ephemeral beauty that eludes my grasp through the generosity of my dreams and wishes. I do not think that mundane philosophy will heed to my directives if I try to use it for the routine. Seeing the limitations of political affairs, I do not bother to answer them. In order to invent and to create, I see beyond philosophy and politics. My interest in the life of people is directed at finding the meaning of life.
Q7. The substance of literature lies in its message and not on mere power of words. However, your writings are bent on the force of words. Why?
Shimondi Ande Mariam
Beyene Haile: I do not want to ask the author of this statement. One can imagine how an author would respond if he were to be informed, ‘The message you expected to be communicated by words has failed to reach the readers. Why do you use words for this purpose? Are you short of other means of communication? Why was your message thrown on the way?’ We can playfully envisage what the dumbfounded writer may respond. In his confused state of mind, he would say, ‘ If the words, failing to carry my messages, find themselves scattered over the artistic sea of my creation, readers will come across words that do not contain messages. I wonder how else I could have dispatched messages other than on words. Aren’t the message words and messages words? Who could possess the skill to lead one discover messages hiding in the beauty of words?’ Saying this, the author would probably laugh in surprise.
Q8. To which period of time is your writing directed?
Michael Berhe
Beyene Haile: To eternity! And since this moment is a part of eternity, to this moment!
Q9. You hate the intelligentsia and teachers. Why?
Muluberhan Habtegebriel
Beyene Haile: Then why don’t I hate you? Why don’t I hate myself? Yet I am an intelligentsia and a teacher to boot. I have only tried to say, ‘Let us know more than we do! Let us serve more than we are. Let us invent! Create! Let us not stand on the course of change!’ This message is not new. Many have said it. Oh! How many writers!
Q10. Who are you?
Zeresenay Tesfay
Beyene Haile: Your brother! Like you I am in the world traveling to find another world through art. If you tell me that you have found yours and wish to abandon the search, I will just continue. I do not say that I am cursed or blessed to open the curtain of beauty. There is nothing sweeter than the journey one makes to find oneself. Sometimes during the eternal journey, I will call if I see a work of art that points at the truth so that we may laugh together.
Q11. You are a writer, a consultant, and a painter. How do you reconcile this?
Adib Abdu
Beyene Haile: There is no need to reconcile. There is no difference. Let us wish to see the last of the disintegrators. Art learns a lot from nature and nature takes a lot from art. I use artistic productions in the service of management and those who stand by me in practice are on the rise. Then I will strengthen the bond between peers and friends by creating common grounds for art and management. Since I have recently been requested to facilitate a workshop in one organisation, I am preparing myself to take the occasion to interconnect art and management.
Q12. Your philosophy of art and your outlook of life have not registered a marked change in the last forty years. How old does Beyene Haile stay in the process of this journey?
Abrham Tesfalul
Beyene Haile: There are some who turn old before they grow up. And their artistic productions hardly multiply. Some take no grant from time in their quest to capture the shadow of beauty they had once snatched. They always keep on renewing their wisdom. The weight of time is no measure of prudence and brevity does not indicate imprudence. It all depends on the grace bestowed from somewhere. Inventors and creators abound in all age groups. There is no intrinsic value in the excess or shortage of years. It is not a source for pride or shame. My age is my wealth and my love.
Q13. Were you writing in the space of time between ‘Is He Mad’ and ‘Tiberh’s Boutique’?
Sandiago
Beyene Haile: There are few poems and short stories left to bear witness to the times. More poems exist than other texts. The unfinished and unperformed plays or scripts and unsung songs maybe lying squeezed into a tight corner of memory. The lingerers are many, waiting for their cue. Texts then uncompleted are still lying idle. Although I had diverted my strength towards painting, my literary drive had never stopped being my constant companion in life. It had always been in me, always regenerating, spreading, and flowing in the depth of my being. It has started to flow when it confronted the light of freedom. I pray that a power more than I can resist will help me push out the major part of my unrealized creativity.
Q14. Do you plan to render your book in the form of essays?
Khalid Abera
Beyene Haile: An essay analysing the conception and creation of my novel ‘Is He Mad’ (An Author In Search Of a Character) has been recently published in the US. The book entitled, The Road Less Traveled (Reflections On the Literatures of the Horn of Africa), has been edited by Ali Jimal and Taddesse Adera, Red Sea Press, Inc 2008.
I am currently preparing an essay or a booklet about life and literature to serve as a material for our dialogue. Since my contribution could hardly satisfy the demand, I hope others could rise to the occasion.
Q15. How do you describe the youth of this generation.
Tedros Markos
Beyene Haile: This is a big question. This is a generation born and raised during a grand historical juncture surrounded with opportunities denied to his predecessors. Since he is the child of freedom, I can’t help worrying when I observe the prevalence of imposters claiming to be peers. The young maybe surprised when those they expected to provide indulgence and education change roles to act younger. It is a unique generation that arouses envy. It has a rich challenge to deal with. Since their friends and foes exist in large numbers, the new generation must use a more subtle and advanced knowledge to discriminate the meaning of life. As I have tried to pinpoint in my play ‘Heart to Heart Talk’, it becomes them to say, “We have to be old philosophers in the naivety of our youth.” I hope that the youth will possess the ability of a young-wise person to say, ”Nothing stands between me and my sun. You cannot fool me with vain selfishness.”
Q16. You once said that you wrote ‘Tiberh’s Boutique’ (Dukuan Tiberih) for the young. What did you mean?
Abdelkadre Ahmed
Beyene Haile: My novel is generally meant for those who say, “My cup does not run over with knowledge.” I wished it to be a book that triggers the past to confront the present and the future. I prepared the story to burn down the lock of slavery and swampy ideas with myriad colours. I built the story with a wild love so that we could create a civilization of hope out of the ashes of our dissipated past. Since the readers should be the children of the future, I wrote it with the youth in mind. It never crossed my mind to think of persons reprimanding me for writing to their children. I thought the parents could read with their children. I also wished that the adults could actively participate in quenching the thirsty questions of the youth and equally play in the process of inventing, creating, and building a new civilization.
Q17. Which media do you prefer to pass on your messages?
Mesgun Zeray (Wedi Feraday)
Beyene Haile: I wish to prepare a film script after a good talk with you. Although I dare not claim to have messages, I select a media depending on a passing whim or a spontaneous attraction of a channel fit to build a story.
Q18. Are the philosophical ideas you use for your novels and plays yours or of the past?
Tedros Markos
Beyene Haile: I cannot say if I follow any philosophy be it mine or of the past. I do not wish art to be subservient to philosophy. I say that it possesses its own (‘raison d’etre’), being and has the power to energise philosophies.
Q19. Are there writers who influenced you to write the way you do?
Sandiago
Beyene Haile: Many have influenced me. In addition to creative writers, the contributions made by writers of various streams and rivers of knowledge are immeasurable. With hunger and thirst, I have voraciously swallowed and chewed the cad. Having assimilated their works, I did not bend to serve them. I immediately declared my independence and created my style.
Q20. A writer is a communicator. Should he not write/present in clear terms? Or! Do you want to see the suffering of readers trying to understand you?
Eyob Beimnet
Beyene Haile: Why do we want to confine a writer within a narrow fence of perception? Could we find a writer who is comfortable with this statement? Who is to communicate with whom? Then when is the writer going to create? It is with the density or sparcity of meaningful colors that he helps us see the unseen and grasp the illusive. When is he going to be crazy with love and to jump with full freedom to create?
Q21. In your writings and conversations you excessively mention the young. What is your vision of the Eritrean youth?
Abrham Tesfalul
Beyene Haile: Because it possesses opportunities that were never given to other generations, it is a generation of edification. I see it building a new world. I see truth, love, and beauty reigning. In my life time, I envisage the young gathering from all corners of the world to build the stage of infinite possibilities, growing to elephant-size with the philosophy of the flowering stone and the wisdom of Video and inviting me to see the stage. That is why I want to stay near. Who knows if the young build the statue of Hirity and possibly that of Mezgebe and invite me to go and see?
Q22. What philosophy of writing do you follow and pursue? What is your fundamental message?
Khalid Abera
Beyene Haile: There is no philosophy that I can say I follow or pursue. It is love that guides me. I try to express my love and yearning and not my message. I follow my own. The message I keep repeating has been: ‘Let us create!’ ‘Let us innovate!’
Q23. What is your opinion on the rules of writing?
Petros Menges
Beyene Haile: I believe that rules should be studied and properly collected. It is good for both writers and readers. However, I do not wish rules to stand on my way. Nor do I stop worrying if the regulators block the freedom of styles.
Q24. Can a person who does not read write the way you write? (Your kind of writing)
Tesfaalem Gebreselassie (Chaare)
Beyene Haile: Why should one care to write like I do? In the novel ‘Is He Mad?’ The uncle of Mezgebe, Tesfay, said, “Is it not enough to sacrifice one Mezgebe?” I wish to see writers who write much better than I do. Such writers will come when they dig and find their real selves and, when they courageously see their vision. It is useful to read, but I do not equate more reading with writing. Oh how much we read thanks to books and the internet. The call of writing is not mere reading. Since there is sub-super- sound, there is the need of wise persons endowed to listen. If the young start to improvise ‘masse[i]’ and ‘weye’, they would have started to say the impossible. Is it not possible to surpass rap and hip hop?
Q25. Is The Long Wait for Bahgu a continuation of Tiberh’s Boutique? What is their difference?
Tesfaalem Gebreselassie (Chaare)
Beyene Haile: As we always promise, we may have to sit and talk. The two novels are differentiated by a dark and faint meaning of colours. They are also separated by a long span of time. The ages of innocence and maturity tend to pull them in different directions. It is well to answer if it is a happy journey moving from a stage that presents Habte for laughter to a stage that shows Mehamed Edris digging for truth in a heap of wasteland.
Q26. Having begun your text, do you go on finishing or go back to revise it? (You have dense ideas that are constantly repeated)
Tesfaalem Gebreselassie (Chaare)
Beyene Haile: The text is painted with the density and repetition of colourful ideas. Density and dispersion take turns in building the story to a crescendo of fulfilment. Repetitions, like the rondo in music, are constant reminders of unity in diversity of sounds and tunes, ideas and emotions, and art and life. If I go back to the text, it is with the intention of enriching the unity of its embrace, goading the wild flow of its dreamy courage, applauding the novelty of its vision.
Q27. What should a person do to become a good writer?
Adib Abdu
Beyene Haile: The question is extremely vast. I do not believe that a single accepted answer exists. On my part, I am preparing a booklet that could play a part in answering such questions. As for you, I advise you to write and to read. To avoid ideas that block your way, have confidence in the power of your imagination and creativity.
Q28. You say that you are after love and truth. In your view what are love and truth?
Debessay Woldu
Beyene Haile: I do not think that I view love and truth in any different light than yours. Perhaps they are the same to all of us. Since I believe they should be in works of art, I keep repeating them. I have an expectation that art could create beauty if it springs from love. When I say creativity than imitation, becoming rather than living, leading than following, etc, it seems to me that interrelating it with truth, love, and beauty would be good. When the young get the opportunity to ask me, I will dwell on it at large. Since you are adults, I am forced to leave it at this level of intimation.
Q29. Why don’t you translate your works in English?
Petros Menges
Beyene Haile: This is our common wish. The problem lies on how we go at it. Many suggest that I do the translation myself. Since my writings are made up of a concentration and spread of pictorial meanings reflecting a bold and faint shade of life, they need the mastery of both languages. I do not give up hope that those in Europe and other lands may render them in various languages. However, I cannot help asking, ‘When would they master languages! When would they start to love art?’
Q30. When you see the youth through art, how do they look to you?
Girmay Abrham
Beyene Haile: In my play ‘Heart to Heart Talk’ you are heard saying, “We shall migrate inside ourselves when we delve into the recesses of our being and explore the wealth of our potentialities.” I hope to see you use any form of art to create and to invent saying, ‘We will look this way when we sink into our inner being. We will look that way when we go back to our true self.” Believing of an imminent realization of such a wish, I sing with our beautiful singer repeating, “This will come true, why not?!”
Q31. What is the message to the young of Heart to Heart Talk drama?
Beyene Haile: It says a lot to the young. One of it, “When you proudly stroll Harinet Street, please talk about art sometimes. Talk about the art that should be. Talk not only about living but happily about becoming. Drop down the routine and opt for the real heart to heart talk.”
32. What do you want the young to be?
Beyene Haile: A builder! In my writing, painting, and in dialogues of management, I talk about the building that is yet to be constructed in the future. I say, ‘please show us the stage of infinite possibilities while we are still alive. Wherever you maybe, getting together the wealth of your creativity, build it in unison. The philosophy of flowering stones and the wisdom of Video[ii] will be of some use. Do not look down on imagining, creating, and elephantizing [iii]with knowledge, wisdom, and skill.
Beyene Haile
February 17, 2008
Embatkalla
***
[i] Masse, Weye, spontaneous outpourings of oral poetry improvised to mark a significant occasion such as wedding and hilly and mundane festivals
[ii] Philosophy of the Flowering Stones, Wisdom of Video, turning into or becoming an elephant, or elphantizing etc are concepts from the novel, Dukuan Tiberh
[iii] In Dukuan Tiberh, to be an elephant means to be knowledgeable and capable of performing great things