Meeting House: Emma House speaks to inspiring bookwomen from around the world.

1. What was your pathway into the publishing industry?

My journey is very similar to many other people in the literary space on the African continent. I grew up an avid reader, alongside my brother who was also an avid reader. A real defining moment for e was at the age of 7, I stole ‘The Pelican Brief’ by John Grisham from my brother and started reading it. Even though I probably didn’t really understand it, from that moment I was gripped by reading. I was very conscious however that I only had access to stories which were based on Western experiences, and I really didn’t see myself in any of the stories. I realised I wanted to see my own context in the books I was reading. At 12 years old, I stumbled across the book ‘The Concubine’ by Elechi Amadi, which opened the door to a world that I didn’t know existed, despite growing up in Kampala, the thriving capital city of Uganda. People being described were a similar colour, with things I could relate to – I immediately got drawn to African literature and then went crazy to hunt down any African book I could find. I got through as much as I could get my hands on, and there was always a love for and relationship with African Literature and books from a young age.

I wrote my first book at 14 – realising that it wasn’t really how it works – simply writing the book didn’t mean it was published. My love affair with stories and narratives continued as I went to university in Canada. This was an important part of my identity and I saw gaps in our literature scene quite clearly. I started engaging with the politics of knowledge and access to publishing spaces for African writers and understanding why I couldn’t get my hands on the literature I wanted . I was especially drawn to finding solutions. After finishing university, I moved back from Canada to Rwanda and see if I could address some of the challenges. What initially started as some thoughts of sensitisation around culture evolved quickly into a publishing business. I began by awareness raising – doing writers workshops for women, doing book clubs etc – bringing people together around books, but ended up speaking to people who were veterans in the sector, including Kate Wallis who was in Rwanda – and is now one of the directors in Huza Press. I also connected to Ellah Wakatama who made me promise I wouldn’t set the publishing company up as a not-for-profit, that it must be a business (which I have maintained). I was also in touch with the African Writers Trust – which supported my first training in the publishing space. So many people, especially women were very welcoming and supportive of my endeavours and really encouraged me to set up Huza in 2015 in Kigali and run the first ever prize for fiction in Kigali.

2. Who or what inspired you to enter the publishing industry?

I didn’t think I was going to start a publishing industry – I wanted to build capacity for writers and to bring people together, provide mentorships and literally throw everything at the problem and find a solution. The publishing company idea was one of the solutions, and even prize was also thrown at the problem. I really didn’t think I was going to start a publishing company – and there not many people to look to on the African continent for inspiration given that the majority of publishing is in the educational textbook space. I’ve since been able to reach into a fantastic network of people such as Bibi Yusuf-Bakara (of Cassava Republic), Goretti Kyomuhendo (founder and current director of the African Writers Trust), Lola Shoneyin (of the Ake literature festival), a whole range of people doing fantastic work in the African literature space. I also took inspiration from the Kwani Trust in Kenya which is doing some really interesting activities.

3. Tell us about Huza Press?

Huza means ‘bringing together’- and stories bring us together, shared narratives that encourage us to empathise with others, and to see ourselves in stories. This year we have 4 titles in 2021, we usually publish 2 titles a year. We try to limit number of titles, given we are not a big team and we really want to give each title as much attention as possible. I strongly feel there is not enough knowledge being produced on the African continent that is being given a platform. We absolutely need to increase our contribution of knowledge as a continent from its very low base of 2% – given the size of the continent and the stories and knowledge we have. I feel we must contribute to the African literary canon that would otherwise go ignored. To do this, we must tackle the gatekeeping issue and show we do have people writing, who have interesting stories and are putting forward their own experience, but not had support, nor access to opportunities to publish their work. I also want my son and daughter to have access to these works, narratives and knowledge when they want to learn about Rwanda or the Continent – rather than having to work really hard to get hands on an African book and see themselves in books.

So far, we have published a range of genres, including biography, memoir, fiction. We are thinking about children’s books and poetry and have plans to publish an upcoming anthology that would launch a poetry imprint of Huza.

4. You have also established a fiction prize and the KigaliLit series of literature events – can you tell us what motivated you to launch these?

I set up the prize to get a sense of what people were interested in writing – as not much writing was coming out of Rwanda (apart from books about the genocide). What surprised me was how people wanted to write about stories that everyone else in the world was writing about, e.g. sci-fi, love, pain – it was inspiring. I knew as well that writers could also benefit from mentorship – so we offered 10 shortlisted writers to be connected to established African writers who worked with them on stories for about a month to give them a sense of what a good story looks like. This support would then elevate the quality of work we were receiving. It was a long-term plan to inspire and develop writers and go on their journey with them.It was a long-term plan to inspire and develop writers, and go on their journey with them.

When we could actually meet in the same place- the live events – KigaliLit was a partnership with Goethe Institute. We ran them for about 2 years, with the ambition to bring African writers into Rwanda and introduce them to audience and introduce audiences to African works.

Got some really interesting writers in. Rwandas who were producing work as well to expand their horizons. Was at the core of this. Not been able to run these for some time. Partnereed with Open Winter festival to add a literature compentnt to arts festival that focused around theatre – not lit – so we added that component to that festival. Got some poets involved. Hope to get back into this when allowed and se ethe excitement and rewad from the connections.

5. Describe a defining moment of your career.
Small team but punch above our weight. Won Brittle Paper publisher oof the year last year which was exciting as we struggle during the pancemic. We are still young. We got so much incredible support at the beginning. Still to come – lots of things that need to happen

6. Have you had any role models that have inspired you on your publishing journey?

7. What is the publishing industry like in Rwanda?
Books hard come by, logistical issues – how to get titles from one place to another. Driven by schoolbook/textbook market and industry – at core of publishing industry. Lotsof publishers, been asked to judge publishers book prize – was surprised by how many there ae – base don what school curriculum needs. Not much else

8. What is the landscape like for women in publishing in Rwanda?
No different to other sectors. Publishing is more inclusive of women – similar to around the world. Businesses are owned by women in the space, it’s a small industry and not lucrative. More women tend to go those spaces. Sense that women are storytellers etc.

9. What advice would you give to other women in publishing?
Collaboration is key – people want to collaborate – Jalada, African Writers Trust, all small an all tryin to address challenges, though collaboration. Can come together as pulishers to solve distribution challenges, and improve how we have done distribution of books across contient, not a lot of funding in creative space. We have to work collaboratively. Not smooth sailing – been challenging- speak about collaboration and ariculaet the challenges, what work and didn work and been honest about lessons.

10. What has been the ongoing impact of your literary mentorships in your community and in Rwanda?
There has been so much change, incremental changes, starting from a low base. Rwanda never engaged with the Caine Prize – we got storis into the anthology and got them to run theirworkshop in Rwanda in 2017. Getting Rwanda into the space for African litereature was a great step. Put out calls for stories – we got 40 submission s no we we are in the 100s and quality has improved to such a huge level. Caine prize worthy. Continue to see challenges around reading culture – which is improving which has been the lowest in the region. Eductaional policy spaces, you see thisbut it ihas impacte the publishing space. Very different to Uganda which has completely different reading culture – always s reading something. In Rwanda, going to shop to buya newspaper (there were very few- raido more popular that reading) – they were weeks old, magazines, years old. Didn’t shift alit – people not reading. In Uganda, people sitting on street reading. Such a different culture. Starting to see movement and a push around people o read, Bookshops now coming up.

Need to get more titles out there – have a residency coming up – need to try and solve logisictical issues. Foster collaboration between different writers. Finally going to continue running events. Do more workshops/mentorships.

Want to resolve some f the distribution challenges and get backs to travel further. Launched in UK and across the coninuent and get them out further – get them into the uS. Look at target audience which would be huge for us.

African literary renaissance. Piece in 2016 about changes starting to see in the African Literary Canon.

Can entrepreneur as much as possible – you cannot entrepreneur yourselves around bad governance. Issues outside oour scope of influence, border controls, and real issues to logistics.

Thinking about improving air transport routes, still expensive. Distributing through Nairobi and use ports in Kenya, but as soon as hit Mombassa, get taxed and then those books have to be brought to Rwanda, but already incurred tax. Books in general shouldn’ be expensive but become expensive because of transport costs – buy air, then tax – makes them inaccessible.

Moved back in 2005 to Kigali

Emma’s always looking for more Meeting House interviewees. To take part please get in touch via Twitter, Facebook or info@womeninpublishing.org.