Malla Nunn: Africa, mystery and murder
One thing is clear from Malla Nunn’s answers below — South Africa is complicated, but so is loving the country. As a fellow expat, I can agree with her on that wholeheartedly.
Malla grew up in Swaziland and moved to Australia with her family in the 1970s. Her education took her from WA to the US, before she began working on film sets. Screenwriting soon followed, and later, when she returned to Australia, she began writing and directing short films. Her films, Fade to White, Sweetbreeze and Servants of the Ancestors, like her books have earned her numerous nominations and awards during her career.
Malla generously answered some questions about South Africa, her work and Emmanuel Cooper.
Can you tell us the first thing that comes to mind with the words: South Africa – and why?
The first thing that comes to mind is the word ‘complicated.’ I have a passionate love/hate relationship with South Africa. The physical beauty of the countryside is heartbreaking and there’s a sense of life and colour all around. I even love the smell of the land! But then… the flipside to that amazing vibe is violence and poverty and prejudice. It’s fair to say that I’m unstable when I’m in South Africa. An hour of railing against narrow-minded attitudes is followed by a weeping fit on a mountain because I cannot stand the beauty and sadness of the place. So it’s complicated! My husband spends a lot of time holding my hand and making calming noises when we’re there.
What do stories or the ability to tell stories mean to you?
I’d be lost without stories. They give me great joy and have done so for as long as I can remember. I grew up in rural Swaziland with no TV and limited access to the radio (LM radio was banned at my boarding school). Stories were a form of entertainment and an escape. They were vital. Now I tell stories for a living and I love it.
What inspired you to venture into the crime genre?
I’m a big fan of crime fiction. I read it for pleasure. I was attracted to the genre because a story can be exciting and explore complex social issue at the same time. It’s a great combination for the writer and the reader.
What has been the reaction from South African readers to your novels?
Really positive, which was a surprise. I was criticized for being too hard on Afrikaners in my first book but I’m careful to paint members of every race group in a bad light!
Your books are set in 1950s South Africa – what do Detective Cooper and Detective Constable Shabalala represent to you?
Emmanuel and Shabalala represent the best in mankind. They see beyond the social boundaries and have a deep compassion for the trouble that people get themselves into. They are good men in a bad time. Zweigman also. Clever and compassionate policemen where rare in the 1950’s and I hope my characters are a tribute to the few good men who tried to change the world for the better.
Durban is my hometown! I was very excited to see it as the setting for “Let the dead lie” – what do you want readers to know/take away about South Africa – the land and cities and the people from your novels?
I aim to tell a great story that explores the complications of life in 1950’s South Africa. When a reader tells me they loved a book and can’t believe all the things that passed for normal in the story, I’m happy. South Africa was racially divided but never black and white or easy to understand. Not all whites were automatically racist. Not all blacks were stoic and humble. I want to give readers a glimpse of how complex and difficult life in South Africa was for Blacks, Whites, Indians and mixed race coloureds. I also want to explore all the physical permutations of the country, from the Durban seaside to the Transvaal veldt. Again South Africa is so many things and I want the reader to get a taste of life beyond the stereotypes.
What was the most unexpected part of the genre and writing these novels for you as a writer?
The unexpected part of the genre was the ‘one book a year’ expectation on the part of the publishers. I can’t write that fast. Missing deadlines is a major point of stress. Plotting is also a challenge but I think my craft skills have improved over the four books.
What sort of research goes into putting your books together?
I don’t give research much thought when I’m writing the first draft. I use common sense and what I already know about South African to knock together a story. The colour of police uniforms and the name of the whisky that Emmanuel drinks are irrelevant at this stage. Till the end of the second draft I’m only concerned with story, story, story. When the characters and the plot are solid I send my manuscript to Terence King, my South African researcher and police editor. He checks the facts and suggests changes if I’m way off the mark. It’s a partnership that works well.
What does the future hold for Cooper? Are you planning more books in the series? Book 4 in the series ‘Present Darkness’ comes out on June first this year. ‘Present Darkness’ is my favourite book so far. Emmanuel’s personal life is complicated and risky and he has to fight dirty to keep his loved ones safe from danger. I have at least two more Emmanuel books left in me but the publishers and book sales to decide their fate. If ‘Present Darkness’ is my last dance with Emmanuel, I’m happy with where he’s ended up.
You’ve been successful in two very different mediums – film and books – were there any similarities about these two mediums that you never expected?
None of the similarities were unexpected. Both books and movies aim to tell stories that people want to read/see. The difference in word count was an unexpected difference. You have more words to write in a novel but you still have to be disciplined with how you use them. Screenplays are very lean. It took me a while to understand that writing a novel wasn’t a chance to dive into every moment or describe every expression. I learned that good, lean writing works best in novels and in films.
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Malla Nunn and PM Newton will be appearing at Abbey’s on April 10 for Conversations in Crime Alley!