One year into the Bola Ahmed Tinubu administration, Nigerians are faced with serious economic hardship leaving many to constantly worry about remaining in Nigeria or leaving for greener pastures.
Nigerian-American award-winning author of Every Body Looking, Break This House, and Salt the Water, Candice Iloh, wouldn’t change much about their 2020 debut, only that they would have celebrated it more: ‘The dream I’d had for the year my first book came out crumbled so quickly that it stopped feeling exciting.’
The perpetual timelessness of repeating historic mistakes can only be combated with timeless, prudent and even prescient logic. Frantz Fanon’s work provides an important perspective to understand the ongoing genocide in Gaza.
An inspection of the anatomy of the violence that has plagued the beautiful home of ‘Peace and Tourism’, Jos, employing the lyricism of the American rapper, Kendrick Lamar.
Lawrence Dieyi’s animated epic film, Oya: The Goddess of the Gods, falls short in its attempt to retell the legendary story of Oya to a new audience. However, it successfully bridges the gap between tradition and modernity by reimagining an ancient tale in a fresh and innovative way.
Nigerian feminist scholar and author of An African Feminist Manifesto, Ololade Faniyi, is drawn to writings about the digital and the African imaginary: ‘We must resist the universalizing mission disguised as bridging the technological divide. We have lost so much as a people; we don’t have any more to lose.’
Nigerian cinema has reached new revenue and audience heights in the New Nollywood age. But is there room for a new cinematic consciousness that truly interrogates Nigerian realities and beliefs?
In his debut novel, The Changing Man, Tomi Oyemakinde places a Black protagonist at the centre of paranormal events, setting a new mark for African writers. However, there is still room for improvement in his work.
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