What are the main literary and cultural influences reflected in your work?
I must confess that I am the product of a range of influences in the field of art, especially literature, although it is not the only source that has contributed to my artistic development. I could mention, for example, photography, cinema, painting, sculpture and, above all, music, which broadened my perception and my appreciation of beauty and artistic sensibility. When it comes to literature, however, names such as Rui Knopfli, Luís Carlos Patraquim and Eduardo White, among others, both national and foreign, such as Jorge Luis Borges, Carlos Drummond de Andrade, Al Berto and Herberto Hélder, have had a strong influence on me since my youth. Over the years, my literary geography has expanded, and today I follow with great enthusiasm contemporary Brazilian poets, Polish and Hungarian poets of the 1950s to the 1970s, Greek and Spanish poetry, and African literature, especially that written in French, which has a deep connection with orality and with the small everyday dramas of our continent and of our experience of life.
Did your involvement in the Kuphaluxa Literary Movement influence your artistic vision and your interaction with other Mozambican writers?
The Kuphaluxa Literary Movement was a fundamental part of my journey as a writer; it gave me a space for collaboration and the exchange of ideas with other Mozambican writers. That experience greatly influenced my artistic vision and strengthened my connection with the local literary community, besides the fact that I gained brothers, in the truest sense of the word. I like the irreverence we had at the time, in the sense of being selfless and participatory, and of embracing literature, or the making of literature, as an action or a rallying cry. Today I am proud of the companions and the writers who are members of that group.
To what extent does your academic background in sociology and anthropology influence your approach to literature?
Both sociology and anthropology are sciences of the utmost importance, because they make it possible to read the world and to understand the human being fully. For me, as a poet, working with these disciplines is natural, since the object of study, if we may call it that, is aligned. Like these sciences, poetry also allows us to read the world, both the visible and the invisible. In my case, I simply consider myself a curious person, and having had the opportunity, or the possibility, of drinking from these epistemologies and adopting their methods to understand the world around me is crucial for me, in order to formulate not only theories but also poems. However, I do not see myself as a better, more interesting or luckier poet for having had access to these disciplines. I believe that any sensitive person who understands that poetry serves, above all, to pursue the subversion of language can become an excellent poet. That is my daily quest.
What are the main themes addressed in your poetry?
I have a fascination with the great universal themes, but my poems explore a variety of subjects, from existential and cultural questions to social and political criticism. Love, death, the night and our Mozambican identity are some of the recurring themes in my poetry. I use everything that I feel can be explored as poetic material. For me, there are no limits to the themes that can be addressed; every experience, every feeling and every reflection can become a source of inspiration for shaping my artistic expression.
How do you interpret the thematic and stylistic evolution of your poetry, culminating in "Criação do Fogo"?
Throughout my career, I have sought to evolve both thematically and stylistically in my poetry, and it is natural that this should happen, because we grow and acquire a certain maturity and, perhaps, more sensitivity and refinement in the way we see and interpret certain phenomena. I always try to challenge myself to find better perspectives and ways of dealing with language, and not to repeat myself. In other words, it is necessary to master the technique but also to have a broad cultural foundation, and that has to do with what we consume artistically, but not only that; one must understand the language itself and how to handle it. So, now I feel increasingly capable, and poetry is not something that happens to me as a mere accident; rather, it is a choice that I bear with great responsibility and a great deal of practice, until the intended text emerges, because only this continuous study, learning, exposure and contact with different cultures, literatures and people allow that constant leap forward, always in search of something that will surprise and make an impact on readers.
And what can you tell us about the use of poetry as a tool of social and political criticism in your work, especially considering the current Mozambican context?
To begin with, I would say that this is nothing new in the history of our Mozambican literature. José Craveirinha, Noémia de Sousa, Patraquim and Eduardo White, not to mention many others, inaugurated this way of writing poetry as a weapon, or as a missile. My poetry has also always been a way of expressing my concerns and criticisms regarding personal vices and the vices of society, but I do not like to limit myself to that. Certainly there are those who read me only in that way, but I have other, more festive perspectives, more in celebration of the word and of our language, which is beautiful, and of our people, who are heroic and capable of performing miracles even with scarce resources. We are one of the most beautiful peoples in the world, with people who, despite everything, believe in work and in the strength of their dreams and their hands, and that too deserves to be celebrated. That said, I am not blind to injustice. I increasingly believe that the function of poetry in our time is to create empathy between human beings, with one another and also with nature.
What is the importance of the BCI Literature Prize and the Pena de Ouro International Prize in consolidating your career and promoting Mozambican literature?
Prizes are an integral part of a process of recognition but, in our particular reality, one must proceed with caution so as not to spread one's wings too far. First of all, it is necessary to understand that any prize is merely the result of a body of work that belongs to a particular period or a particular book, and those phases generally pass. The truly great prize, in fact, is the possibility of cultivating readers. For example, in the case of the Pena de Ouro International Prize, being the only Mozambican representative and resident juror, out of so many possibilities and people, some perhaps more qualified and experienced than I am, is something that makes me proud. Because I believe there is a reason for me being there, and that is the recognition of talent. And it is always a pleasure and an honour to receive recognition, as was the case with the BCI prize, for example, or to learn that the Stephen Spender International Translation Prize was won by a translator who used a poem of mine, which is a great honour. Not only because of the prize itself, but because I am starting to gain recognition in a market that is not the Lusophone one but the market of the United States and the United Kingdom, which offer other perspectives and opportunities.
What are the main challenges you face as a Mozambican writer in terms of access to the literary market and international recognition?
Our market is quite limited, and it is difficult to get a book into circulation. That is the first great challenge. Another challenge has to do with the near absence of specialist criticism capable of keeping pace with contemporary Mozambican literature and amplifying its voice. The third is a great cultural vice, that of non-communication between the classes and the various groups that make us up as Mozambicans; I have a feeling that the vast majority of our upper-middle class tends to look with disdain on works that do not come from its own milieu. And it is there that purchasing power is concentrated. Despite these obstacles, I keep working. It is inspiring to see how our literature is received in Brazil, in Portugal and even in places such as Uganda, where I have been. Realising that American translators are interested in translating and publishing my books is something astonishing. However, I recognise that we still have a long way to go.
How do you receive criticism of your work?
The greatest criticism, the one I truly value, comes from people who say they have been deeply touched by my words, who feel they have been given a new opportunity to see themselves and to observe the world through my poems. That is extremely meaningful to me. That said, specialist criticism, shall we say, is also welcome and, fortunately, in this respect my work has been well referenced, and that is very good, but in general we need a more present form of criticism that follows the growth of artists, because that is what can contribute to greater and better acceptance among the public and among readers.
In what activities or projects, besides writing, are you involved, and how do these activities complement or influence your literary practice?
I make writing my profession; that is, I work exclusively with writing, which already brings me a great deal of satisfaction. All the projects I am involved in have a direct relationship with writing. At the moment, for example, I have been collaborating with some musicians who have the desire, or perhaps the audacity, to compose their lyrics in partnership with writers. I have already had the privilege of working with Xixel Langa, Banda Kakana and Abuchamo Munhoto on some projects, and I would like to continue. I am also dedicated to writing screenplays for film and television dramas. These days, I am involved in preparing a performance of contemporary dance and theatre based on my poetry. I seek to experiment with every creative form possible, because I feel that it enriches my work and also my path.
Beyond literary prizes, how does your work, including "Criação do Fogo", contribute to the construction of Mozambique's cultural and national identity?
I believe that each person does their part and contributes in the best way they can to the construction of a cultural and national identity for Mozambicans. Having the opportunity to be the voice of a generation is my contribution, perhaps. Within my texts there are many facets of who we are, and I believe that from there it is possible for us to recognise ourselves or assert ourselves before those who do not yet know us. I think that is the contribution of my works. I hope that my poetry helps to promote an even greater understanding and appreciation of the diversity and richness of our cultural fabric.
