Author Q&A with Ciiku Ndung'u-Case

Editor's Note: This Q&A was conducted by our talented intern, Daniella Felix. Daniella is a student at an English major at El Paso Community College (EPCC). She is an editor for EPCC's magazine, Chrysalis, and a student fellow for the Humanities Collaborative, a mentoring, research, and training partnership between EPCC and the University of Texas at El Paso (UTEP), working to strengthen the ties between the two institutions.

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Thought-provoking, timeless, yet simple. Throughout the ages, children’s books’ ability to convey universal ideas has fascinated people all around the globe. From love, friendship, responsibility, heritage, and even more complex concepts, many —adults and children alike—are drawn to children’s stories. The reason is to their effortless ability to cross geographical, societal, and cultural boundaries. 

On August 6th, our newest title for young readers hit the shelves! Ciiku Ndung'u-Case’s, Wanjiku, Child of Mine, is replete with brilliant storytelling, lovable characters, and gorgeous descriptions of lush Kenyan landscapes and its busy streets (all of which are inspired by Ciiku’s childhood in Kenya!), and transports the reader to a pre-2005 Kenya, alongside with the story’s titular character: Wanjikũ. The cover and artwork of this story is beautifully made by South African artist, Karen Vermeulen.

Wanjikũ, Child of Mine is about Wanjikũ and her journey adjusting to life and growing up. Her journey starts in the huts of Kenya with her Cũcũ, who tells her about the story and heritage of her name: according to Gikũyũ mythology, Gikũyũ and Mũmbi were the first man and woman in the world, who had nine beautiful daughters. One of which was named Wanjiku. No matter how hard school gets, how many chores she has to do, or how much her life changes, Wanjiku has found her identity in the rich heritage of her name. 

Ciiku Ndung'u-Case is also the founder of Cheza Nami, a non-profit promoting cultural education and diversity. Recently, she’s been awarded the 2024 Rising Star by the Healthcare Businesswomen's Association, for her outstanding work around the mentorship, sponsorship, and empowerment of women. 

Wanjikũ, Child of Mine released on August 6th. Grab your copy here and here.

Daniella Felix: You are both the founder of the Cheza Nami Foundation and you are also an author. Very impressive! Does your position as the founder of your very own foundation impact your writing? And vice versa, do you think being an author impacts your actions in the foundation?

Ciiku Ndung'u-Case: Most certainly. There is a shift in stories that represent the narratives on the artists we partner with to execute on our mission: immigrants from Africa and her diaspora who want to share their rich culture with communities. I knew I needed to have a story that was representative of my story, that further promoted the objective of celebrating everyone in our community. When I first decided that I needed to write a children’s book, there were few options available to help us drive our message home, especially to our youngest audiences. This book and the work that I do with Cheza Nami have intersected perfectly from my perspective.

DF: As an author, do you take inspiration from past experiences?  Are there any moments in the book that come from your own childhood?

CNC:  The story is based on my own childhood: the cityscapes, the public transportation, the village, boarding school, are all from my memory. I was just in Kenya last year with my family and marveled at how developed the city had become (we had been back four years prior). A lot remains the same of course. It is a beautiful country.

DF: What do you think international readers –or people who haven’t visited or lived in Kenya—will gain from reading Wanjikũ, Child of Mine? 

CNC: I am hoping it will ignite a curiosity to either visit or want to learn more. Above all else, I hope readers can get the sense of interconnectedness: of people, between Wanjikũ and their own lives, their own heritage story and be excited about sharing it with others. 

DF: What was your experience like in telling Wanjikũ’s story in this medium?

CNC: The Kenya of today looks significantly different than the one I grew up in. In this book, I needed to be intentional in recreating my childhood. The huts in Wanjikũ are a good example. In many parts of the country --not all-- that architecture has been replaced with brick. A day in the life of a young child, however, thematically stays the same. My thinking is that any child anywhere in the world can connect with those themes: having chores, the importance of family connections and friendship, and the value of heritage. 

DF: How did you turn an idea a fully fleshed out children’s book? How long did the process take?

CNC: This is a 10-year project: I first wrote a poem for my children when they were little and knew that I needed to extrapolate it into a picture book with more depth. The turning point in moving from idea to finished manuscript came with consultation with Jessica of Catalyst Press. Time is everything. In that time, from initial idea to final script, I had over a decade of field work with Cheza Nami. This informed me how young children could best resonate with the stories that I and other cultural artists were telling in the classroom. 

DF: Do you feel that Wanjikũ, Child of Mine is a book you needed as a kid? 

CNC: Yes indeed - I grew up with little to no representation in books, including the textbooks that we used in school. That myopic view of the world for a young child can be detrimental. It creates a barrier to seeing yourself in the world you live in, and when you leave your familiar surroundings and travel the world, it makes it impossible to know how you fit into a world where you are not represented. Every little girl and boy deserve to see themselves in books!

I knew I needed to have a story that was representative of my story, that further promoted the objective of celebrating everyone in our community.

DF: The name Wanjikũ comes from Gikũyũ mythology. Do you think Gikũyũ mythology is under-represented in literature? 

CNC: Most certainly! And mythology from other African groups. Imagine this: there are over 1000 linguistic groups in this second largest continent, and each as diverse as the next. We have lots of work to do to get all those stories told. In Kenya alone, with over 40 different linguistic groups, each has its own creation story, or grouping of creation stories with similar themes. The Gikuyu mythology is only one of them!

DF: In Wanjikũ’s journey, we’re offered a special lens through both childhood and girlhood. In your opinion, how important are these themes? 

CNC: Globally, we are making strides in elevating the girl child. But we have yet far to go. I do a lot of work around mentoring, sponsorship and empowerment of women: recently I was awarded 2024 Rising Star by the Healthcare Businesswomen's Association for this work. And so, I recognize that issues affecting girls and women are still many to solve. This story aims to empower and inspire other little Wanjikũs to be proud of who they are, where they come from, and where they are going. 

DF: The idea of identity is explored beautifully in Wanjikũ, Child of Mine. The name of the titular character, Wanjikũ, changes as her location does. In your opinion, why is it important for kids to learn about language, resilience, and heritage?

CNC: I call it the individual anchor. Knowing your identity keeps you rooted. It is the thing that you can often come back to when you are feeling lost: aiming to know whether you are on the right path, or simply need a reminder of how remarkable you are. Heritage makes you feel part of something bigger than yourself. It gives you purpose and enables you to envision a trajectory that can take you to new heights. When you are comfortable with who you are and know where you come from, you can more easily determine where you will go. 

DF: The narrative you provide is absolutely beautiful and refreshing: physical differences are embraced. Why is it important for kids to learn to embrace their own differences, as well as others? 

CNC: Because diversity is cool! We say this to children when we visit schools, and we ask them to repeat it and embrace it. If Wanjikũ can be proud of who she is and embrace the diversity of her peers and celebrate and see the beauty in those around her, then perhaps other children can be inspired to do the same. 

DF: Kenyan literature is without a doubt important. It’s rich in culture and folklore. Not to mention, early records of Kenyan literature date as far back as 1728 AD. How does it feel to be part of this rich history of literature?

CNC: As I continue to settle and embrace my new home in the United States, it is becoming clearer that Kenya is indeed a rich resource. As I mentioned, Kikuyu is one of over 40 different linguistic groups, each with their own folklore: indeed, what a rich resource Kenya is! After all, Kenya is the home of human origins. I am very excited about making these stories available to wider audiences, and super energized about the incredible potential this has in building global connections. 

Knowing your identity keeps you rooted. It is the thing that you can often come back to when you are feeling lost: aiming to know whether you are on the right path, or simply need a reminder of how remarkable you are.

DF: I must tell you; I’m absolutely enamored with your creativity and flair for writing! As a reader, I can’t wait to see what your next book will be. Can we expect more of Wanjikũ’s story?

CNC: I need to carve time to do this, but I have every intention of getting back at it. Wanjikũ took the lid off, so I am excited to capitalize on this momentum and get another book out very soon!

DF: Ciiku, thank you so much for this insightful conversation. I’m certain that many people across the world will see themselves in the charming story of Wanjikũ!