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Kenyan writer and author of Unbury Our Dead with Song, Mũkoma wa Ngũgĩ, does not believe in the idea of a ‘great African novel’: ‘I do not think there is such a thing as the “great African novel”—or the “great Russian” or “European” novel—nor do I believe in the idea of major and minor literatures.
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About the Author
is a professor of Literatures in English at Cornell University and the author of Unbury Our Dead with Song, The Rise of the African Novel: Politics of Language, Identity and Ownership, Black Star Nairobi and Nairobi Heat. He is also the author of two books of poetry, Logotherapy and Hurling Words at Consciousness. He is the co-founder of the Safal Kiswahili Prize for African literature.
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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