However, the episode has disappeared from both German memory and that of local communities, in an unusual convergence of interests, where both sides chose to forget.

In his new novel, the author denounces the tendency to create “a single version of history,” a practice that, he says, deprives societies of the richness of their multiple memories.

"It's because of collective memory, because of these versions against a process of forgetting, of erasing from memory that, in that case, I even think this is a bit unusual, it wasn't imposed from above, that is, it's not the version of the winners that overrides the others, but there is a moment there that everyone wants to forget for different reasons."

In addition to exploring the psychological and social impact of a denied past, “River Blindness” also addresses the symbolic erasure of geographic space and writing itself.

“And suddenly, the place is erased from geography, from history, and, as if that weren’t enough, the writing itself is erased.”

“Apparently there is a kind of inversion of positions of power and Africans, the few who know how to write, are the only ones who hold this wisdom.”

Mia Couto commented, alluding to the scarcity of local reports about the incident.

The work emphasizes the importance of writing as a tool of resistance, especially in contexts where colonized peoples are silenced. For Mia Couto, the solution to dealing with the wounds of history involves an artistic revisiting of the past.

Revisit the Past

“The participation of Mozambicans in the colonial army, for example, was forgotten and now it is Marcelo Panguana, a leading voice in literature, saying [that] he was there on the other side. I think literature can do this exercise of inviting us to revisit the past, because literature is not looking for culprits.”

With “River Blindness”, Mia Couto offers a profound reflection on the mechanisms of forgetting and how they shape collective identity. By refusing to simplify history, the author challenges the reader to question the official versions of events, proposing a plural and multifaceted narrative that gives voice to the marginalized.

A Giant of Letters

A former journalist, professor and current biologist, Mia Couto has won several literary prizes, including the Camões Prize in 2013 and the José Craveirinha Prize in 2022.

Among his best-known works are “Sleepwalking Earth” (1992), “The Last Flight of the Flamingo” (2000) and “The Lioness’s Confession” (2012).

With a style that blends magical realism, African oral traditions, and innovative poetics, the writer has won over readers and critics worldwide. His works have been translated into more than 30 languages, and over the years, Mia Couto has used his writing to give voice to the silenced and explore the complexities of African identity.

Mia Couto is undoubtedly one of the most respected authors in the Portuguese-speaking world. With a literary career spanning several decades, he has received awards such as the Vergílio Ferreira Prize (1999), the Latin Union Prize for Romance Literature (2007), and the Eduardo Lourenço Prize (2011) for his body of work.

His novel "Terra Sonâmbula" was chosen as one of the 12 best African books of the 20th century and his work "Jesusalém" was among the XNUMX best fiction books published in France, according to France Culture radio and Télérama magazine.

With "The Blindness of the River", Mia Couto continues to deepen his reflections on the colonial legacy, the erasure of memory, and the need for an artistic revisitation of the past. This book promises to captivate readers seeking a more critical and pluralistic view of African history and reinforces the importance of literature as a bridge between the past and the future.

Conclusion

The book, which has already sparked curiosity and debate, promises to be another landmark work in Mia Couto's vast literary legacy.