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Analyst and author of ‘Ken Saro-Wiwa’s “Sozaboy”: What War Literature Teaches Us About the Political Economy of Violence’, Ndidi Akahara, is always excited to talk about history and literature: ‘reaching into the past offers us a wealth of experiences that can help inform how we live today. Good literature on the other hand, stretches our present circumstances to make room for the experiences and ideas of others.’
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About the Author
has an MSc in African Studies from the University of Oxford and a BA in Economics from Baylor University. She is Research Director at the Toyin Falola Interviews.
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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