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George, Rosemary Marangoly, and Helen Scott. "An Interview with Tsitsi Dangarembga." Novel (Spring 1993)309-319. This interview was conducted at the African Writers Festival, Br have got Univ., Nov. 1991 Excerpt from Introduction "Written when the spring was twenty-five, awkward Conditions put Dangarembga at the forefront of the younger generation of African writers producing literary productions in English today....Nervous Conditions highlights that which is often effaced in postcolonial African literature in English--the representation of young African girls and women as worthy subjects of literature....While the critical reply of this novel has focused mainly on the authors feminist agenda, in this interview...Dangarembga stresses that she has travel from a somewhat singular consideration of gender politics to an hold of the complexities of the politics of postcolonial subjecthood" (309).Full text also available from EBSCOHost Academic anticipate Elite, Arti cle No. 9312270407.Veit-Wild, Flora. Interview with Dangarembga "Women Write about Things that Move Them." Matatu Zeitschrift fur afrikanische Kultur und Gesellschaft 3.6(1989) 101-108.Wilkinson, Jane. "Tsitsi Dangarembga." public lecture with African Writers Interviews with African Poets, Playwrights and Novelists. capital of the United Kingdom James Currey, 1992. 189-198.Tsitsi Dangarembga (b. 1959) was interviewed 4 Sept. 1989 in London by Jane Wilkinson, and I here highlight some points made in that interview. There seem to be many autobiographical parallels between Tsitsis and Tambus lives, although Tambudzai (supposed to be 13 in 1968 in the novel) would be fairly older than Dangarembga (who was 9 in 1968). Dangarembga says that she wrote of "things I had observed and had had direct devour with," but "larger than any one persons own tragedieswith a wider implication and origin and therefore were things that needed to be told" (190). iodin imp ortant theme in Nervous Conditions is that of remembering and forgettingespecially the hazard of Tambus forgetting who she is, where she came fromas her brother Nhamo did. Dangarembga acknowledges this in the interview (191). "I personally do not have a fund of our cultural customs duty or oral history to draw from, but I truly did feel that if I am able to put down the dinky I know then its a start" (191). Nyasha, the author says, doesnt have anything to forget, for she never knew, was never taught her culture and originsand this forms "some nifty big gap inside her." "Tambudzai, on the other hand is pleasant of valid in saying that she cant forget because she has that kind of experience. Nyasha is so worried about forgetting because its not there for her to remember.