The prize-winning author’s life is now an episode of Steve McQueen’s hit series Small Axe. He talks about working on the project and his latest novel, based on a Jamaican slave uprising
Amid the brunchtime clatter of a busy south London cafe, Alex Wheatle is talking about how, lately, he has been considering 1970s pop culture and the way it has shaped and warped his perception of self. “I grew up with Tarzan on TV; Tarzan beating up all the black guys he came across and being able to talk to the animals while the black people couldn’t,” he says. “And I hate to admit it, but when I was 10 or 11, I actually cheered for Tarzan when he was fighting with a so-called ‘savage’. It was only later that I thought: ‘I think I’ve got that wrong.’”
In many ways, Wheatle’s 20-year writing career has been about correcting that wrong. Because if the focus of the author’s extraordinary early years was on mistruths around his heritage – about its history, its value, its implicit inferiority to a loin-clothed white saviour – then the intervening period has been all about creating the depictions of nuanced black heroism he was denied as a child.
Continue reading…The prize-winning author’s life is now an episode of Steve McQueen’s hit series Small Axe. He talks about working on the project and his latest novel, based on a Jamaican slave uprisingAmid the brunchtime clatter of a busy south London cafe, Alex Wheatle is talking about how, lately, he has been considering 1970s pop culture and the way it has shaped and warped his perception of self. “I grew up with Tarzan on TV; Tarzan beating up all the black guys he came across and being able to talk to the animals while the black people couldn’t,” he says. “And I hate to admit it, but when I was 10 or 11, I actually cheered for Tarzan when he was fighting with a so-called ‘savage’. It was only later that I thought: ‘I think I’ve got that wrong.’”In many ways, Wheatle’s 20-year writing career has been about correcting that wrong. Because if the focus of the author’s extraordinary early years was on mistruths around his heritage – about its history, its value, its implicit inferiority to a loin-clothed white saviour – then the intervening period has been all about creating the depictions of nuanced black heroism he was denied as a child. Continue reading…