Sukoluhle ‘Sue’ Nyathi, a writer from Zimbabwe, is experiencing an extraordinary year following the immense success of The Polygamist, a Netflix series that has captivated audiences globally.
As the author of the novel that inspired the series, Nyathi has been actively engaging with the media, including a guest appearance on Lungelo KM’s Engineer Your Life Podcast, where she shared her personal journey and her creative process of transforming The Polygamist from concept to written work.
“Let’s get into the polygamist, it’s classified as fiction,” Lungelo KM stated.
“Fiction sometimes is called faction. People often say there’s more truth in fiction than nonfiction. Because you know we also derive fiction [from] things you observe, which are based on truth,” Nyathi replied.
Where is the narrative placed?
“The country keeps on saying the story is based on Bulawayo, or because of Sue’s from there…,” observed Lungelo KM.
“… The original book is set in Harare in Zimbabwe. That book originated mainly from my observations when I had just commenced my corporate journey, I had relocated from Bulawayo, a very conservative city, to the energetic capital city of Harare,” explained Nyathi.
“I grew up in a traditional Catholic household… upon arriving in Harare, I began to notice a phenomenon of men who were seemingly monogamous, yet they had other undisclosed wives and parallel secret lives… there was deception involved. Some children are born into this arrangement, some remain oblivious to the existence of their other siblings, which made it all the more intricate and fascinating for me. Thus, I thought, okay, I want to craft a narrative around it since it occupied my thoughts for quite some time.”
How the characters were developed
In deciding how to narrate the story, Nyathi opted to focus on the female perspective.
“I didn’t want to narrate the story from a man’s perspective: I didn’t wish to place the man at the center, simply because I feel men could easily offer countless justifications for their desire to have multiple partners and partake in polygamous unions,” she remarked.
“I aimed to center the women, to explore the voices of those women who find themselves in such scenarios, and to understand their choices, while avoiding judgment.”
Nyathi detailed how she developed her characters during the writing journey.
“When I write, I immerse myself in the character, I embody that persona. Thus, I become Matipa, I become Joyce, and this method is how I craft these characters, none of whom are based on women I know personally. I constructed them using stereotypes as well… There are certain types that fit specific [profiles]… I believe I succeeded, as people often say: ‘I know a Joyce, I am a Joyce’.”
“I’m a Matipa, even though they’re hesitant to admit that,” said Lungelo KM.
“However, some are embracing it, some are owning their narratives. We now live in an era where kudala, you know, amakhwapeni were concealed, … but nowadays, women confidently express on social media, ‘I’m a side chick,’ and they take pride in that. It’s essential to create diverse characters because stories allow people to see themselves; representation is crucial, and this could be why the series is resonating with audiences—it reflects their realities, they can relate to a character, and if something feels genuine, it will resonate with them,” Nyathi elaborated.
How the reactions have unfolded
“I appreciate the feedback. I recall that Amnesty International shared: ‘If you’ve watched The Polygamist, and you’re in circumstances similar to Jonasi’s, here are the steps you can take.’ For me, seeing this type of response is impactful, as it shows a concern for, you know, individuals who are marginalized, those who are suffering, and unsure of their next steps. … Observing that makes you think, ‘okay, there’s a narrative out there, I might not be the only one, my struggles are not solo; perhaps others are experiencing similar issues’, and it empowers individuals to take action.”
