Ishmael Beah

It's exhausting writing nonfiction, particularly when it's personal. It's tiring, always speaking about things that are not necessarily fun retelling.

For many observers, a child who has known nothing but war, a child for whom the Kalashnikov is the only way to make a living and for whom the bush is the most welcoming community, is a child lost forever for peace and development. I contest this view. For the sake of these children, it is essential to prove that another life is possible.

A lot of people, when they say 'forgive and forget,' they think you completely wash your brain out and forget everything. That is not the concept. What I think is you forgive and you forget so you can transform your experiences, not necessarily forget them but transform them, so that they don't haunt you or handicap you or kill you.

The thing that really gets to me is that countries are in the news only when things get out of hand. That's when it's newsworthy. When the war ends, it's not newsworthy anymore; no one wants to think about it. Actually, the aftermath is the most important part. It's when people have to rebuild.

After I wrote my memoir, 'A Long Way Gone,' I was a bit exhausted. I didn't want to write another memoir; I felt that it might not be sane for one to speak about himself for many, many, many years in a row. At the same time, I felt the story of 'Radiance of Tomorrow' pulling at me because of the first book.

My mother tongue, Mende, is very expressive, very figurative, and when I write, I always struggle to find the English equivalent of things that I really want to say in Mende. For example, in Mende, you wouldn't say 'night came suddenly'; you would say 'the sky rolled over and changed its sides.'