Of course, as an author I had to take liberties. I tried my utmost to stay true to folklore and history. The muti that Guy uses is based on historical cases (albeit, with different and less supernatural results). I also, of course, gave my own spin on the tokoloshe myth with the callous but ultimately bighearted Graham.
Blood Hunter, overall, is not just a character-study into Guy Mgebe, but an attempt to bring more and more of South Africa’s cultures and history into the international mainstream.
Due to the unfortunate political culture of the time, I suspect that I will receive some backlash by non-African critics accusing me of cultural appropriation, misinterpretation or twisting narratives.
My defence is simple: this is a story. And as folklore and myth from Asia, Europe and the Americas have been shifted and changed to fit a story, the same can and should be done for Africa. We should not alienate African cultures from the creative process. And while we hold myths sacred, we regrettably risk letting them become forgotten. Rather, I feel we should see culture and myth for what it is: a tool that unites us, invigorates us, and evolves as we do. Culture should be spread, adapted and enjoyed by everyone.
Blood Hunter is an addition to the small catalogue of fiction that uses Xhosa and Zulu culture as a springboard to craft a narrative. I hope it becomes one of many.
And most of all, I hope you enjoyed it!
Acknowledgements
It takes more than just a single author to truly craft a novel. There are countless inspirations that build a story. Some think that stories can be wholly original. Divinely and supernaturally inspired, even. These people are not writers. And if you are also not a writer, I am sorry to have to break the illusion that we’re original beings of pure creative energy.
Every game, book, story, event and person of history, series and film I have seen has contributed in some way to my writing. To craft art, we must learn from art. And this is what all writers do. So, as my first acknowledgement, I would like to thank every other creative who has helped shape me as a writer.
This book was much more research intensive than my previous books. For research on the culture, and particularly military strategy and dynamics of the amaZulu, I used The Social System of the Zulus by Eileen Jensen Krige. For an understanding of the economics of the area, I read An Economic History of South Africa by Charles Feinstein. The Kat Drummond Series and this book are steeped in South African history, which I have studied intensely and adjusted to make up for the existence of magic. Perhaps, I should thank my undergrad history degree for that. Not my postgrad degree, as I dropped out to write books. I think it worked out.
Thank you to Zakhele Mthembu for helping with the occasional Zulu translation, and Dumisane Kili for helping me understand and appreciate Xhosa customs.
Thank you tremendously to my editor and mother, Shelley Woode-Smith. One day I’ll make you let me pay you for this service.
Thank you to the skilled and creative Richard Smith, my father, for designing the cover of this book and bringing Guy’s image to life.
Thank you to my ARC readers for ensuring this book releases with reviews on time. You guys are great!
And finally: thank you!
Yes, you! Without you, I’d probably still be studying a degree with no earning potential. Ew. But because of you, the reader, I can spend my life doing what I love. And that means everything to me.
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Nicholas Woode-Smith is an urban fantasy and sci-fi author from Cape Town, South Africa. When he isn’t crafting worlds for you or his D&D players to enjoy, you can find him playing PC games, watching cartoons and reading history.
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