Author of Face Me I Face You and co-founder of Sprinng, Oyindamola Shoola, is committed to creating a space where African writers can grow, thrive, and be celebrated for their unique contributions: ‘Sprinng was founded in 2016, inspired by the challenges my co-founder, Kanyinsola Olorunnisola, and I faced as young African writers. We recognized the limited support and resources available for writers on the continent. This gap often forces writers to seek opportunities abroad with limited resources to support them.’
First Draft is our interview column, featuring authors and other prominent figures on books, reading, and writing.
Our questions are italicized.
What books or kinds of books did you read growing up?
Despite growing up in a house full of books and readers, I did not grow up loving books enough to intentionally read. Outside what we were mandated to read, especially in Literature-in-English classes, I struggled to find pleasure in the books around me until my late teens when I gained the autonomy to explore much further. The first memorable books I chose and enjoyed included Rupi Kaur’s Milk and Honey, Seye Kuyinu’s Things I Wanted to Tell You In Other Words, and Seun Lari-William’s Garri for Breakfast.
If your life so far was a series of texts, which text (fiction or non-fiction) represents you at this moment?
It would be Thich Nhat Hanh’s Mindfulness Essentials series of nine books. I think that, especially in our current world, where media takes precedence in many things, many people find pride in figuring things out completely and being branded as experts. However, life has a humbling way of constantly revolving beyond our limited knowledge and foresight. If one does not continue to learn how to live it, and be a part of its renewal, one will be left behind. However, Hanh’s books are very meditative. The other option that provides a perfect balance would be any of Robert Greene’s books, such as Mastery and 48 Laws of Power. His books are a reminder that one cannot afford to be too naïve in a brutal world if one wants to make the best of it with one’s limited time. So, you can think of my life so far as mastery on training wheels in an unending journey.
Outside what we were mandated to read, especially in Literature–in–English classes, I struggled to find pleasure in the books around me until my late teens when I gained the autonomy to explore much further.
This year, your book, Face Me I Face You, won the Kermit Moyer Prize for Craft in Lyrical Writing. What was your process for writing Face Me I Face You?
I did not start writing the book with the intention to make it what it is today, much less to title it Face Me I Face You. I was always writing and sending my thoughts to a WhatsApp chat thread, and on a Saturday, about four years ago, I posted one of the pieces on social media and was astounded by the engagement it received. It was the nudge I needed to collate the pieces—most of which I had already written. Around that time, I also gained admission into my Master of Fine Arts (MFA) in Creative Writing program at the American University. With the support of my thesis advisors, David Keplinger and Kyle Dargan, I refined the book into the masterpiece it is today.
Face Me I Face You is a collection of poems existing at the interface of identity, class, and culture. Which book/author had the most influence on your approach to writing it?
I read many books that taught me about structure, poetic devices, narrative poetry writing, characterization, and forms, which led me to write Face Me I Face You as it is. My favourite reads during this period include Rita Dove’s Thomas and Beulah, which won the 1987 Pulitzer Prize for Poetry; Ilya Kaminsky’s Deaf Republic; and Eady Cornelius’ Brutal Imagination. I also read a book of selected poems by Gwendolyn Brooks, who won the 1950 Pulitzer Prize and received the National Book Foundation Medal for distinguished contribution to American letters in 1994. While these books were more about identity, they provided the necessary structure to explore themes like culture and humour in Face Me I Face You.
Do you have a personal favourite from the collection? If yes, which is it and why?
‘Breaking Up with the Moon’ is one of my favourites from the book because as much as the book is about humour, it is also about adulthood and its challenges. Despite being the only prominent poem that communicated extreme loss of innocence, it provided a necessary balance to the humour that triumphed throughout the book and presented our world as it is.
And what’s one thing about the reactions to the book that surprised you?
This is a good one. For the first few days, there was an ongoing argument in a group chat of elite writers and friends about the spelling of the pidgin English word for butt: ‘Yansh’ versus ‘Nyansh’. It was in reference to poems about Delilah. The conversation was hilarious! The conclusion was that the spelling and pronunciation depend on the culture and the emphasis the speaker wants to make.
You’re the co-founder of Sprinng, a nonprofit dedicated to empowering African writers. Who/what inspired you to start this organization?
Sprinng was founded in 2016, inspired by the challenges my co-founder, Kanyinsola Olorunnisola, and I faced as young African writers. We recognized the limited support and resources available for writers on the continent, particularly in countries like Nigeria, where, for example, advanced creative writing programs, like MFA programs, are non-existent. This gap often forces writers to seek opportunities abroad with limited resources to support them. We wanted to change this narrative. Sprinng was founded to build a supportive and inclusive community that nurtures the distinct voices of African writers. We aimed to provide a space and a movement where writers could grow, thrive, and be celebrated for their unique contributions. Through mentorship, we empower writers with the resources and guidance they need to achieve their dreams.
My two most unforgettable poems would be ‘Little Things’ by Julia Fletcher Carney (1845) and ‘Be Glad Your Nose Is on Your Face’ by Jack Prelutsky (1940). Although written years ago, these poems are forever relevant and teach an essential lesson about the significance of the little things.
What has been the most exciting project you’ve worked on so far at Sprinng?
The Sprinng Writing Fellowship is the most exciting so far. It is a six-week online mentorship program for developing African writers. We have provided mentorship to over 330 writers with the support of over 150 mentors so far, and we stand out because of our approach to individualized mentorship in all genres for writers who want to sharpen their skills. The fellowship is now so popular that we receive over 1,500 applications annually.
You are also the editor and programs director at Poetry Journal. What makes a poem unforgettable?
Poems that tell good stories with very precise language are hard to forget. While Poetry Journal is just one year old, I have encountered many brilliant writers like Abu Ibrahim, whose poem, ‘Blood Ties’, won our first prize. I remember reading Ibrahim’s poem and telling my co-editor, Tolu Akinyemi (aka Poetolu), that I would love to read a full-length collection by this writer! Our mission at Poetry Journal is to tell ‘widely relatable everyday African stories that highlight individual experiences within the collective identity stories.’ One thing my journey so far with Poetry Journal has affirmed is that poetry and storytelling aren’t mutually exclusive.
And what’s the greatest poem you’ve ever read?
It is hard to pick one. My two most unforgettable poems would be ‘Little Things’ by Julia Fletcher Carney (1845) and ‘Be Glad Your Nose Is on Your Face’ by Jack Prelutsky (1940). Although written years ago, these poems are forever relevant and teach an essential lesson about the significance of the little things. They are also very simple poems and ones they taught me how important messages don’t need to be tangled in dramatic and complex languages to be profound.
Which Nigerian poets working today are you rooting for?
I am rooting for so many poets, especially from the Sprinng community. Timi Sanni, Roseline Mgbodichinma Anya Okorie, Hope Joseph, Emmanuel Faith, Emmanuel Michael, and Pamilerin Jacob! There are so many that I could go on and on.
What’s one book you would recommend gifting a loved one this holiday season and why?
Any reader knows that it is always challenging to pick just one book! I am working on a small project of making a bundle of about five easy-to-read and humorous poetry collections by Nigerian authors available for a holiday sale at the end of this year! So, anyone who enjoyed Face Me I Face You can access more books like it from some of my favourite authors and won’t have to choose just one book this holiday season.
What’s one word, line or quote that captures how this year has gone for you?
Sinking and swimming. I am trying to be more present and focus on taking one day after another. Although not every day is perfect, I remember not to drown on the heavier days.
What’s the best book (by an African author) you’ve read this year?
It is always hard to pick one book because my evaluation of what makes a book ‘best’ varies, depending on what the book is doing and the author’s intention. My top three reads by African authors this year would be Rachel Wanogho’s The Life of an Indomie Girl—it is a nice and handy journal-type reflection of the pandemic years and how we are still surviving the effects even though the world has moved on. On the other hand, The Taxi Driver by Muyiwa Adesokun was a re-read from about four years ago. It is a very handy, humorous, and entertaining collection of poems that I not only enjoy reading but it also informed part of the execution of my book, Face Me I Face You. The last one is Theresa Lola’s In Search of Equilibrium, a re-read from about five years ago. While mentoring some young writers this year and discussing concrete writing and hermit-crab writing, it was one I picked up to share as examples of African authors who have successfully mastered the art!
What is your favourite topic to write or read about these days?
I won’t call it a topic per se, but I find myself writing more honestly about how I have changed my mind about my beliefs and principles. My blog post, which I share once in a blue moon, has revolved around that. The older I grow and become my own person, I find delight in picking and choosing from the values or perspectives of life that I have been offered, taught, and that I have held, to decide what I don’t want to keep practicing and most importantly, confidently answer the question, why?
The biggest one for me this year, which I wrote about in a blog post titled ‘Reroute’, was my decision to no longer set new year resolutions, despite growing up with a Nigerian Christian background. Especially recovering from the shock of a pandemic that engulfed our lives for about two years, I have found a lot of relief in admitting how and where I am incapable of predicting what my life would become or what life offers me. As the year is closing out, it is safe to say my approach to capturing the year through a monthly gratitude journal as an alternative, was successful.
Sprinng was founded to build a supportive, inclusive community that nurtures the distinct voices of African writers. We aimed to provide a space and a movement where writers could grow, thrive, and be celebrated for their unique contributions.
What are you currently working on?
I have an abandoned non-fiction manuscript about mental health. I abandoned it partially because I need more clarity on how I want it to come together and partially because I am trying to be present and enjoy the fruits of Face Me I Face You for as long as possible.
Question from Theresa Lola: Are there poems you never intend to publish? If so, what’s the relationship between what you reserve as public versus private?
Yes, there are poems I never intend to publish, at least for now. I may change my mind later, but most of the nonfiction pieces and poems in the manuscript I am working on differ from what I have done with Face Me I Face You. I am looking in the mirror a lot to write this one, compared to Face Me I Face You, where I looked at the world more and chose the world as my audience. The primary encouragement I am giving myself to write the pieces in this book is this: write as if nobody else will read this. It is one of those manuscripts that I look at and say to myself, ‘I am doing this for myself; I only owe myself this, not anybody else.’
Bonus: Please suggest a question for a future author’s First Draft
When or where do you hesitate the most in your writing, and why?
Who should we interview next?
Tolu Akinyemi (also known as Poetolu), author of Your Father Walks Like a Crab and founder of the Poetry Journal and Roseline Mgbodichinma Anya Okorie, whose first published body of poems will soon be released by The African Poetry Book Fund⎈
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