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Author and political analyst, Nanjala Nyabola, believes in writing what she knows. ‘I’ve found that if you put aside the desire to be seen and just write from an authentic place of wanting to tell stories you know and that you think the world might profit from hearing, it will take you a long way, even in nonfiction.’
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About the Author
is an independent writer and researcher based in Nairobi, Kenya. She is the author of Digital Democracy, Analogue Politics: How the Internet Era is Transforming Politics in Kenya (Zed Books, 2018) and Travelling While Black: Essays Inspired by a Life on the Move (Hurst Books, 2020).
Nigerian novelist, poet and author of Graceland, Chris Abani, does not believe ‘Nigerian literature’ exists as a category: ‘It is a common misconception that there is a fixed category that can be read as essentially “Nigerian literature”. Nigeria has 500 nations, 500 languages and about 2,000 dialects. While culture and language can overlap, the level of diversity is such that Nigerian literature cannot be easily narrowed down.’
For the co-founder and publishing director, of Cassava Republic Press, which marks its 20th anniversary this year, Bibi Bakare-Yusuf, it is telling that African literature is often pronounced dead in recent years, when more women and queer voices are becoming more prominent: ‘The loudest obituary writers about African literature tend to be men. These elegies seem to come from a tacit sense of personal or generational displacement rather than from the actual state of the field.’
Nigerian poet, novelist and author of Madame Sosostris and the Festival for the Broken-Hearted, Ben Okri, argues that Nigerian literature doesn’t always have to be about Nigeria: ‘Nigerian literature limits itself to Nigeria and then limits even the ways in which the country can be written about. What we want is a vast literature, a great literature…that speaks to all humanity.’
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