Q&A with Karen Vermeulen

Karen and Sir Henry

We think our books are good on the inside. Really, really good, in fact. We also think they’re pretty good on the outside, too. We consider it an added bonus. The reason they’re so nice inside and out, is one Karen Vermeulen. Karen is an illustrator who has designed the covers for We Kiss Them With Rain, The Lion’s Binding Oath, and the upcoming Love Interrupted (not to mention the releases coming next year that will have her special touch). We chatted with Karen to talk about her work, what goes into designing the perfect cover, and what’s next for this talented artist.

Keep up with Karen (and Sir Henry) on her website and on Instagram @Karen_vermeulen_illustration

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Hello, FanCon Cape Town!

Luke Molver (and his work) at FanCon

Last month, author and illustrator Luke Molver (Shaka Rising) headed to Cape Town for FanCon, an annual comic and pop-culture festival. He shared his thoughts about the event (and some pretty great pictures) over at Durban Is Yours:

Organized by Readers’ Den Comic Shop and now in its third year, the annual comic and pop-culture festival was held in Cape Town from 28th – 29th April, to its largest attendance yet. Local and national comic creators, cosplayers, artists and fans engaged with international guests in a big ol’ pop-culture hootenanny of superheroic grandeur.

Even in the most affectionate way, I hesitate to use the words ‘geek’ or ‘nerd’ to describe such events nowadays. Pop culture being so ubiquitous in our media and daily lives, these interests can hardly be described as ‘niche’ any longer… and events like FanCon show that these interests are alive and passionate in South Africa, in bright comic book colours and punch-out- the-page costumes.

The cosplay cruisin’ around the con ranged from amateur to professional, and there were some insanely imaginative and creative outfits paraded about. You’d be amazed what can be constructed outta some glue, a shoebox, a few toilet rolls and a broomstick, and I’ve got a heckuva lot of respect for the home-made effort put into some of those costumes. I sold comics to a Jedi while chatting to the Guardians of the Galaxy, and borrowed a light from Daenerys Targaryan as she shared a gwaai with ol’ Jonny Snow. Workshops from international professionals such as Riki Lecotey and Chris Donio, who worked on props for the new Avengers Infinity War movie, gave cosplay enthusiasts and casual visitors the opportunity to literally learn the tricks of the trade.

Read the rest here!

 

Help Us Bring the Next Chapter of Shaka’s Life to the Page

Happy New Year, everyone! It has been a really busy, really exciting 2017 for us here at Catalyst. We’ve done a lot of learning, growing, and building this year and we can’t wait to keep bringing that energy into 2018.

As the year begins, we find ourselves right in the middle of a Kickstarter campaign to bring the second volume of Shaka Rising to life, and we’d love your help. Check out our project to learn more about our plans, and while you’re there make sure to take a look at some of the fantastic rewards we’re offering to our donors. We’d love to be able to send you one of those. Also at our project page, Catalyst founder Jessica Powers has written a few words about her life and why this book, this project, and this press mean so much to her:

When I was growing up on the U.S.- Mexico border, there were no books that reflected the reality of my life. I read Laura Ingalls Wilder avidly, to the point where I grew my hair past my waist and only wore dresses. I wanted to be a pioneer girl. Anything was better than the desert town I lived in!

Then I discovered Anne of Green Gables, and all the companion books, and I desperately wished I was Canadian, and perhaps an orphan, growing up on the lush, mysterious, wild island of Prince Edward Island. (As an aside, I visited as an adult and was disappointed that it was basically farmland, with potatoes being the main crop.)

As a kid, I looked around at my neighborhood and it looked to me like nothing more than a dusty desert town of broken down trucks. I didn’t see the magic of migrant workers who passed our house, sometimes several times a day, following the power lines from Mexico to the chili fields of New Mexico. I didn’t understand the musicality that the lilting Spanish I heard every day was infusing into my language. I didn’t realize the way Mexican culture had surrounded and gentled the harsher white Anglo culture that gave birth to my parents.

As a young adult, I bumbled my way into understanding the beautiful gift I had been given: that, instead of the invisible privilege many white children of America are born into, I had grown up witnessing daily the cycle of death and rebirth that accompanies the immigrant experience, the grace that is embodied in failure and the willingness not to let that crush you but to get up and try again, and–not to romanticize anything–the emotional and physical violence that accompanies the harsh reality of poverty. The experiences of immigrant families weren’t abstract experiences. I saw it in my friends’ families and the families of boys I had crushes on and with people at church.

Perhaps even more pertinent, I grew up as a minority. I was a white child with parents from Iowa and South Dakota but almost everybody I knew was Mexican or Mexican-American. Everyday life meant reaching outside of my own home culture. It meant, too, that I was enveloped in another culture to such an extent that to this day it feels like home. And it meant that I’ve always been interested in the ways that race, culture, belief systems, and immigration impact nations and their histories.

Read more about Jessica’s (and Catalyst’s!) story over at our Kickstarter page.

Excerpt from We Kiss Them With Rain

After Sipho’s funeral things became progressively worse for Mvelo and her mother Zola. Mvelo was young, but she felt like an old, worn-out shoe of a girl. She was fourteen with the mind of a forty-year-old. She stopped singing. For her mother’s sake she tried very hard to remain optimistic, but hope felt like a slippery fish in her hands.

They had been in this position before, where someone in the pension payout office had decided to discontinue their social grants. One grant was for her being underage, reared by a 31-year-old single mother; the other was for Zola because of her status.

The thought of having no money for food, to live, drove Mvelo mad. “Why are the grants discontinued? My motheris still not well enough to work,” she demanded from the official with the bloodshot eyes, who was popping pills like peanuts into her mouth. Her bad weave and make-up made her look like a man playing dress-up. It was obvious to everyone in the queue that the official was hung-over.

Hhabe, hhayi bo ngane ndini, ask someone who cares. You’ll see what it says here: DISCONTINUED. You will have to go to Pretoria where all your documents are processed. Now shoo.” She waved them away. “It is my lunchtime.” The official’s mind was on a cold beer to deal with her hangover.

Zola stopped her daughter from engaging the woman any further. “It won’t help, Mvelo, let’s go back home. We will make a plan.”

They were a sad sight. Zola was a shadow of her former athletic self. Her tall frame made her look even worse than she was. People in the queue gossiped behind their hands as
usual.

The sight of someone obviously sick seemed to excite them to talk about what was no doubt true for many people waiting there, even if you couldn’t see it.

Mvelo and Zola had borrowed money for taxi fare to come to the pension payout hall. Now they would have to walk, and the Durban heat was suffocating. Hot tears stung Mvelo’s eyes; the lump in her throat burned. She drank water and began to navigate through the crowd towards the road, heading back with her fragile mother. And just then an unlikely angel materialized from the queue in the form of maDlamini.

“Mvelo,” she called out to them. For once Mvelo was happy to answer maDlamini’s call. She nearly fainted from a combination of relief, hunger and heat. “They said our grants have been discontinued, and now we have no money to get home.” Tears of anger and hopelessness about their situation kept coming. Cooing, maDlamini comforted them and offered to give them the taxi fare they needed. Her act of kindness was fueled by the attention she was getting from the onlookers in the queue.

It was that day, when her mother’s disability grant was discontinued, that Mvelo stopped thinking any further than a day ahead. At fourteen, the girl who loved singing and laughing stopped seeing color in the world. It became dull and grey to her. She had to think like an adult to keep her mother alive. She was in a very dark place. One day she woke up and decided that school was not for her. What was the point? Once they discovered that her mother couldn’t pay, they would have to chuck her out anyway.

Zola insisted on them going to church even at her weakest. Physically she was weak, but her will to live had not left her. She was not strictly conventional in the ways of the church, though. She prayed differently from other people. When things got too much she would say: “Well, what can I say, Mother of God. We, the forgotten ones, we scrounge the dumps for morsels to sustain us through the day to silence the grumbles in our stomachs. We are armed with the ARVs to face the unending duel with that tireless, faceless enemy who has left many of us motherless. We, the forgotten ones, know that rubbish day is on Mondays.”

“We come out in our numbers on Monday mornings to scrounge in the black bags that hold a weedy line between life and death for us. We search for scraps to line our intestines, shielding them from the corrosive medicines we have to take, lest we die and leave orphans behind. We dive in with our hands and have no concerns for smells of decay. Maggots explore our warm flesh as we dig into the rubbish to save ourselves, to buy time for our children. We live off the bins of the wealthy. Some of them come to the gate, offering us clean leftovers, while others come out to shoo us away. We are the forgotten ones, shack dwellers at the hem of society, the bane of the suburbs. We move from bin to bin, hopeful for anything to buy us time.”

This was Zola’s talk with Jesus’ Mother at the end of a long hot day, while standing in the middle of the shack that she shared with Mvelo, and washing dishes in a bright blue plastic basin.

“Tomorrow is another day for us,” she would say, switching from Mary to Mvelo.

Sometimes Mvelo craved that her mother would just be normal, and wished that she would say “Dear God” at the beginning and “Amen” at the end like other people do. But Mvelo and her mother were not normal, she had come to that realization soon enough.

Chanette Paul Guest Posts at Crime Thriller Hound

Chanette Paul’s newest release, the continent and era spanning thriller Sacrificed was featured as the book of the week at the site Crime Thriller Hound, a site promoting “the best in crime and thriller fiction.” She was also invited to write a guest post for the site on her experiences of writing and place.

Some highlights:

On writing about Belgium:

Once I started writing, it dawned on me that I wasn’t so much a novelist attempting to set a story in a foreign European country, but rather a novelist from Africa writing from an African perspective.

On bridging the gap between South African and foreign readers:

The historic and political context needed clarification to an international audience without stunting the flow of the story –which is difficult enough – but I also had to avoid boring my South African readers.

On writing about her home:

I learned to look through intercontinental eyes and rediscover the mystery and uniqueness of the continent I live on and love.

Head over to Crime Thriller Hound to read her full essay

#WritingCrime Wrap-up

On October 10, we hosted a Twitter conversation between Brussels Noir editor Michel Dufranne ( and our own Chanette Paul (). These two great writers were talking all things #WritingCrime. We’re hoping that this first of many author conversations we host. If you missed their chat, here are a few highlights:

On what makes Belgium such an intriguing setting for their work:

SacrificedChanette: As my Mom was Dutch I’ve always had a great interest in the Low Countries and understand the language. That made it easier to try and figure out how Belgians think, how they see the world. The parallels between the Belgian Congo and South Africa’s apartheid years made a perfect background for my story. The parallels between the Belgian Congo and South Africa’s apartheid years made a perfect background for my story. South Africa’s current problems strongly echo the consequences after the Belgian Congo became independent.

Michel: Brussels is a concentrate of diversities: a city as large as a village, 1 million inhabitants capital of EU and NATO, a French-speaking city in the heart of Flanders, a city made up of a multitude of communities. Like any cocktail the mix can be indigestible and explosive. Perfect for

On bringing social issues into crime writing:

Chanette: I want to entertain, not to educate. If something can be learned from my books it is a bonus. However, it would please me if Sacrificed gives insight into the complicated and conflicted life we live in South Africa/Africa. If it draws attention to the grey areas between white and black, good and evil, good intentions and bad intentions.

Michel: [I’m tired] of hearing the international media say “Brussels decided…” Brussels can’t be summarized in its role as the capital of the EU. Brussels is my city. Brussels is complex.

On love of place:

Chanette: Sacrificed explores to a great extend how one can still deeply love a country that has turned inside out. How you can love a country that has been become so dangerous the free live barricaded behind bars? But it also explores what happens when one feels a country has been stolen from you, how you view descendants and accomplices of the thieves that stole your country and mistreated its inhabitants. It explores one’s inexplicable emotional entanglement with your place of birth.

Michel: I have the right to criticize my mother, but anyone who wants to criticize her must be wary because I will defend her!

On Diversity in Crime Fiction and Beyond

Michel: It’s a recent and social fight. Most of the time heroes are white people. For young readers some projects integrate more diversity of society (e.g. Seuls), but it’s the same for all “archetypes;” There’s no fat heroes, there are few women…

Advice for young female writers entering the genre:

Chanette: Be brave! Write and believe in yourself and what you have to say.

————

Sacrificed is available for purchase now at Amazon and IndieBound. Visit Akashic Books for more information on Brussels Noir, and their entire Noir series.

 

 

 

Women in Translation Month, Chanette Paul

In her post introducing this year’s Women in Translation Month, the event’s creator

People learning about the publishing imbalance in translation between men and women. People seeking out new and diverse literature by women writers from around the world. And people doing it not out of any sense of obligation or guilt, but because there are so many good books that this just becomes a month that focuses their reading.

It’s not just about this August, or next August, but about celebrating diverse literature every day. Expanding just one month’s reading list can open up a world of possibilities, of viewpoints, of ideas. It’s what we hope our books do for our readers, and, more to the point, what we hope reading does. We step outside of our lives every time we open a book, and whether that new experience brings us joy, or thrills, or sadness, or knowledge, we leave with more understanding. Now, more than ever, we need to look towards diverse voices and perspectives in art and listen to their stories.

As part of Women in Translation Month, we’d like to introduce you to some of our authors who are working in translation. First up, Chanette Paul:

Chanette is a South African author of more than 40 books in her native language Afrikaans. On October 10, we are pleased to release her first English-language novel Sacrificed (translated by Elsa Silke), a translation of Offerlam. Sacrificed follows Caz Colijn from the Congo’s diamond mines to Belgium’s finest art galleries, and from Africa’s civil unrest to its deeply spiritual roots in her search for the truth about her trouble past.

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