This is a post in celebration of Margaret Busby and her work in promoting Black female writers.
Margaret Busby is a ‘cultural activist’. This is how the Booker Prize described this year’s chair, Margaret Busby, in its short bio on the website. I suppose this is meant to describe the relentless efforts she has made to promote good Black writing throughout her career. Culture works as a code word for Black. But such a narrow description belies her contribution to culture, and literary culture more generally. Sure, she has a deserved reputation for supporting Black female writers, but she supports good writing including, but not limited to, Black or female writers.
So what has this ‘cultural activist’ done that deserves so much praise?
Born in Ghana in 1944 into a family that believed strongly in education, Margaret Busby was sent to England to boarding school at 6 years old. She was a member of a very diverse school community and she boasted that she could ‘count in Farsi, swear in Mandarin and sing in Spanish’ as a result. She grew up amongst book lovers and writers. She stood out, but as ‘one of the little black girls’.
While still an undergraduate at London University she met Clive Allison and on finding that they shared a taste in all kinds of literature they agreed to set up a publishing firm. Allison & Busby was established in 1967. They published writers from all kinds of backgrounds, which included Black writers. Many famous names were on their list: Rosa Guy, Buchi Emecheta, Nuruddin Farrah, JG Ballard, Jill Murphy are some names you might know. After twenty years the company was bought by WH Allen, and although Allison was given a post there was none for Margaret Busby.
Journalism and other activities
Since that time she worked as a freelance editor and critic, and also as a journalist in theatre and the world of books. She was also included on judging panels for various prizes. She has been called ‘the doyenne of Black British publishing’ and a ‘literary supernova’. You could take her inclusion and appointment as chair of the most prestigious literary prize as a recognition of her significance and influence. She also has many awards in recognition of this, including an OBE
Black writers appreciated her support and have acknowledged it. For example: Chimamanda Ngozi Adichie, who won the accolade of winner of winners of the Women’s Prize for Fiction a couple of months ago, said this recently:
And Aunty Margaret – thank you for your grace and for everything you have done for Black writing.
Chimamanda Ngozi Adichie answering a question from Margaret Busby about prizes [Guardian 4thDecember 2020]
Aunty is a respectful, intimate and loving term, and I imagine that it does not come lightly or disparagingly from the pen of the author of We Should all be Feminists.
And Zadie Smith acknowledged what Margaret Busby had done for her by saying
[She] helped change the landscape of both UK publishing and arts coverage and so many black British artists owe her a debt. I know I do. [Zadie Smith, quoted in Guardian piece check]
Her connections in the Black cultural and creative community are extensive to this day.
Daughters of Africa
Perhaps her most impressive achievements are the two collections of writing by Black women. The first was called Daughters of Africa and was published in 1992. It included 200 or more Black women writers with African ancestry.
In 1992: If anyone talked about black women writers, you would think there were just three of them, maybe four: Toni Morrison, Alice Walker, maybe Maya Angelou or Terry McMillan. (These days that list tends to be Morrison, Smith and Chimamanda Ngozi Adichie.) Daughters of Africa is a 1,089-page rebuttal.
And then last year she edited a new collection. New Daughters of Africa is an international anthology by more than 200 other women writers of African descent. It’s a door stop of a book, but very interesting to dip into. Some contributions were specifically written for this volume, other writers have provided extracts from existing work. No fees were charged. Proceeds from the sale of this volume will go to fund a bursary to study an MA in Literature or Translation at SOAS, London.
Not only does the size and scope of the achievements included in the second volume provide evidence of the quality of Black female writers at this time, but it is also a volume to be dipped into and read with great pleasure and appreciation.
New Daughters of Africa: Edited by Margaret Busby, published in 2019 by Myriad Editions. 934pp.
Sources and further reading:
Margaret Busby: how Britain’s first black female publisher revolutionised literature – and never gave up by Aida Edemariam (The Guardian, October 2020)
Booker Prize 2020 Chair: short biography of Margaret Busby