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Nigerian novelist and author of Leave My Bones In Saskatoon, Michael Afenfia, says his latest novel on immigration was inspired by his experience and that of a few family members and friends: ‘I felt compelled to share what the japa experience can look like, particularly because not many people are comfortable talking about what the reality is versus what it is made out to be.’
Since moving to Canada, I too have noticed the switch in mindset. I believe that I am more open to exploring new themes.
I am also open to touching on subject matters I didn’t know enough about to write on so I can reach a new readership while still satisfying the cravings of those readers that have been with me since the start of my writing journey.
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About the Author
is the author of numerous books including The Mechanics of Yenagoa and Rain Can Never Know. His latest book, Leave my Bones in Saskatoon, a novel about the immigration experience, is now a recommended text in the University of Calgary and is available in libraries across Canada. Afenfia also contributes to conversations around race relations and equity for the BIPOC population through published articles and public speaking engagements.
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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