As a writer of historical fiction, I get to rewrite history that has previously been whitewashed. As a psychotherapist, part of my aim is to accompany people on their journey to mental well-being and to reframe their perspective on a traumatic history that cannot be rewritten.
Both allow me to truly tap into my creative side as well as give in to a need to help others. Yet within the necessity to create this safe space, whether it be through the pages of a book or inside a consulting room, there needs to exist a way of keeping myself safe. Something I believed I had been doing quite adequately over the years.
As a writer of historical fiction, I get to rewrite history that has previously been whitewashed. As a psychotherapist, part of my aim is to accompany people on their journey to mental well-being and to reframe their perspective on a traumatic history that cannot be rewritten.
Writing my latest novel tested this belief. The Attic Child was inspired by a little boy who had been taken from his homeland in the continent of Africa by a white male Welsh American “explorer.” I began to resonate with the feelings of displacement my main character, Dikembe, felt on a daily basis. Also, as a Black woman, it was not unusual for me to step into spaces where I didn’t feel welcome — just like he did.
Life soon began to imitate life when statues of such explorers were being torn down around the world, while finally emerging in society was this new realization that racism was a real thing and not a card sometimes pulled out of our pockets to make a point.
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Art Imitates Life
Terms like “microaggressions” and “white privilege” were now routinely discussed not only online but on news segments on every major network, as if they were new concepts. Black squares on Instagram in “support.” Everywhere I turned, the experiences of Black people were being discussed, along with that horrifying video of a Black man, someone’s son, being murdered, constantly playing on loop. Whether scrolling online or simply running into a neigbor in the street, I felt clouded not only by distress, but by an air of expectation of having to be grateful that the rest of the world was now, finally, realizing my pain.
Generally, it is my belief that healing needs to be an ongoing process. But because the very cause of the trauma was now amplified and highlighted much more than usual, it became essential in the moment and needed to be ramped up. I was in the process of writing The Attic Child, a book based on imperialism and historical racism, while treating clients also experiencing trauma. I was writing about two children locked in an attic, while experiencing a strict stay-at-home government order that would last for months.
The Attic Child was inspired by a little boy who had been taken from his homeland in the continent of Africa by a white male Welsh American ‘explorer.’
Life imitated art in the darkest of ways.
Exhaustion flooded my body. Watching the news was out, simply as a way of self-preservation. I had no desire to watch a human being’s last moments on TV (an indignity that appears to be reserved for people with my skin color), or listen to the endless discussions about race — my lived experience — from coworkers or strangers on the screen who would never know what the experience truly felt like.
Healing Racial Trauma
So many emotions, and with anger bubbling below the surface. That wasn’t an emotion someone like me was allowed to have without being labeled and then having to deal with the guilt of perpetuating a stereotype. Yet, for once, I did not possess the strength to apologise for this emotion. I allowed it. I encouraged it.
I was writing about two children locked in an attic, while experiencing a strict stay-at-home government order that would last for months.