“In the realm beyond… there lies Henri Lopes,” penned novelist and journalist Nicolas Michel in a poignant homage commemorating the departure of the illustrious Congolese luminary. These words allude, of course, to Lopes’ magnum opus “Sur l’autre Rive” (On the Other Bank), published in 1992.
Indeed, one cannot help but envision Lopes as the protagonist Andélé from his 1990 masterpiece “Le Chercheur d’Afriques” (The Researcher of Africa), who famously identified himself as a man “born between the waters.” Lopes, hailing from mixed heritage, was a writer who refused to be tethered to a singular “bank.” His literary oeuvre showcased a diverse tapestry of characters, reflecting his inclusive worldview.
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Identity serves as a central motif in Lopes’ literary tapestry, alongside themes of colonization, its enduring legacies, and the intricate politics of postcolonial Africa. Driven by a quest for social justice, his novels delve into issues spanning women’s rights, despotic regimes, racism, and a critical examination of ancestral traditions. It’s no wonder they bear a distinct political undercurrent, considering Lopes’ dual roles as an educator-turned-politician who once helmed the office of Prime Minister in Congo-Brazzaville.
As a connoisseur of Francophone African literature, I am particularly intrigued by Lopes’ literary journey. Through his prose, Lopes navigates the intricate web of ethnicities that shaped his own identity, offering profound insights into the dynamics of human interaction across disparate worlds. He fearlessly exposes prejudices and racism as universal traits shared by all humanity.
But who was Henri Lopes?
Born Marie-Joseph Henri Lopes in 1937 in Léopoldville (now Kinshasa) in the Belgian Congo, Lopes spent his formative years in Brazzaville, straddling the Congo River.
Raised by parents of mixed race, both abandoned by their European fathers at birth, Lopes embodied a cultural mosaic. Much like Andélé, the protagonist of his seminal work, Lopes defied categorization, embracing a multitude of identities as he navigated the currents between two shores.
Lopes embarked on a diverse career trajectory, initially as an educator before venturing into politics. Aligned with President Marien Ngouabi’s left-wing Marxist-Leninist regime, Lopes assumed the mantle of Prime Minister from 1973 to 1975, marking a significant chapter in Congo’s political landscape.
Subsequently, he ascended to prominent roles at UNESCO and served as Congo’s ambassador to France for an impressive 17 years. Yet, amidst his political sojourn, Lopes carved out a legacy as a literary luminary.
His literary repertoire spans a dozen works of fiction, notably “Le Pleurer-rire” (The Laughing Cry), a biting political satire published in 1982, and “Une Enfant de Poto-Poto” (A Child of Poto-Poto), recipient of the prestigious Porte Dorée Literary Prize in 2012. Recognized with accolades such as the Grand Prix de la Francophonie of the Académie Française in 1993, Lopes’ literary corpus resonates with candid portrayals of black integrity, political corruption, and the complexities of African society.
In his seminal work “The Laughing Cry,” Lopes confronts socio-historical issues ranging from state terrorism to political corruption, weaving a tapestry of laughter that provokes introspection. While condemning despicable colonizers, he offers nuanced depictions of white characters who acknowledge Africa’s rich heritage predating Western intrusion. His narratives are populated with resilient female figures, be they mothers, sex workers, or women challenging societal stigmas, underscoring the pivotal role of women in Henri Lopes’ literary tableau.
Lopes’ literary legacy extends beyond storytelling; it serves as a gateway to Congolese culture, interweaving French prose with vernacular expressions drawn from Congo’s diverse linguistic landscape. In his own words, Lopes shunned ideological confines, embracing a Congolese narrative that transcends borders and languages.
As we bid farewell to Henri Lopes, we recognize that his spirit lives on through his enduring literary legacy. Like the beloved spirits immortalized in Birago Diop’s poem “The Dead Are Not Dead,” Lopes traverses celestial realms, embracing the kaleidoscope of human identities he so eloquently captured in his writing.