Thursday 30 August 2012

Favourite Five: Onyeka Nwelue


Onyeka Nwelue was born in 1988 in Nigeria. He has contributed reviews to Farafina magazine and other publications. His writings have appeared in The Sun, Wild Goose Poetry Review, Kafla Inter-Continental and The Guardian. He is the editor of Film Afrique, a primer on African film initiatives, he manages Blues and Hills Consultancy and is currently studying film making and directing. He was nominated as artist of the year for The 2009 Future Awards. The Abyssinian Boy is his first novel. He tells us about his favourite five books!

The God of Small Things by Arundhati Roy
The God of Small Things is the only book I’ve read more than fifty times. It is easy to call me a mad man or say that I am lying, but take my word. I’ve bought countless copies of this masterpiece and I have continued to stare at the arrangement of words, the construction of sentence, the structure of the novel and the cultural landscape of the book. It won the Booker Prize in 1997 and since then, Roy hasn’t written another novel. It will be hard to write another book, anyway, if I had written this. It is absolute beauty and symbolizes real talent. One of the most clever things Roy did with this book is the use of language to create an impression that will last forever on the reader. I once joked on my Facebook that anyone who hasn’t read The God of Small Things should bury his head in shame and I was attacked. Yet, I meant every word I said then, I still do.

Midnight’s Children by Salman Rushdie
The first time I travelled to India, I landed in Mumbai. It is a bustling city, very peopled and has an amazing nightlife. Here, Midnight’s Children is set in Bombay, which is the old name of Mumbai and it is just like the city. There are so many things happening in the book. There are too many people. There are too many real life incidents, factually fictionalized and so many languages getting fused with another; there is an invention of a language called Hinglish. I don’t know what the plot of the book is; many readers always want to know. What I know is that I was transported into another realm, into another country, by the mere beautiful power of the pen and imagination. If there is any novel that would rival The God of Small Things in the history of Indian writing in English, it should be this beautiful Book of History. It is about everything hidden under the sun.

Famished Road by Ben Okri
I bought this book in a local bookshop in Delhi. And as soon as I started reading it, it transported me back to Nigeria. Thoughts raced through my head. This was not the Nigeria I knew, yet, I felt I knew it. It was so familiar to me. Some amazing sense of humour. It was a disturbing book, in the sense that I kept trying to imagine things happening in Nigeria just like they are happening in the book. Just like the two previous books, there are many characters and this is the sort of writing that gives me joy. I am still hoping that one day, I will meet Ben Okri and look him in the eyes.

A Strange and Sublime Address by Amit Chaudhuri
Amit Chaudhuri’s novels are always slim in volume. They look like books of poetry. By the time you are able to buy and start reading them, you will realize that the beauty of any great book is in its story. He is a writer who understands his environment and takes absolute advantage of it, by describing it very vividly. If any reader leaves pages of his books without visiting Calcutta, then that reader didn’t read the book. For the most part, A Strange and Sublime Address did the work Lonely Planet couldn’t do for me. It transported me to India, taught me Bengali language, tradition and culture and I was drenched by the monsoon rains and ate mangoes on the streets of India. It is just a beautiful book, filled with beautiful humour.

Walking with Shadows by Jude Dibia
Few years ago, I read a book about a guy who is married and has a daughter. He has a secret: he loves men. He is Nigerian. So, he has to hide that fact from people so they won’t kill him. He tells that to a South African woman who tells someone, because she doesn’t feel there is anything wrong in it. It is the first book I loved that focuses on just one person, although many people would say the book also centres on the wife. Through the lush literary landscape created by Jude Dibia in this amazing debut, I swept through the horrors Adrian faces, seeking acceptance, quietly looking for a saviour. It is one book which appeals to the heart and to the head and gives you goose-bumps, because Dibia makes reality a fiction by just playing on the consciousness of the characters. One book that should be read by anyone who understands what it means to be a human being.

Sunday 26 August 2012

Ayo Makinde: On Writing Distorted


Distorted (The Nemesis) was one tiring long journey that has taken courage, determination and persistence. The art of writing and drawing have always been more of an hobby than a profession for me. I am a lawyer by training, but by passion a writer and artist. l started writing the script for the comic book- Distorted during my fourth year on campus. 

I see myself as a child of two worlds--the literary world of books and the artistic world of comics. My role models when it comes to fiction include- Ngugi wa Thiong'o, Wole Soyinka and Ted Dekker while in the world of comics, 'Marvel Comics' remain my favourite; their graphics and concepts are inspiring. Spiderman happens to be the 'Marvel hero' that fascinates me the most. I cannot forget Peter Parker's (Spiderman) favourite statement- with great power comes great responsibility. That's deep!

Being nurtured by these two worlds of art, I did not have it in mind to produce a comic book for children even though comics in the Nigerian environment is mostly associated with children. My idea was to blend the two worlds of fiction and art together so perfectly; and to use the product as a tool to transmit the right values to shape the mindset of the society. 

The title 'Distorted' means- life is one distorted puzzle without the god factor. I wanted to make a comic book any youth or adult could read and learn from. That was how the journey of Distorted began. After I finished writing the script of the first edition of the comic book, I gave it to the pastor of my local church who was youth-friendly. He went through it, loved the story and encouraged me to take a step further by taking it to the press. The maiden edition of the comic book titled- Distorted (The Genesis) went to the press afterwards. The comic was well accepted, attracting rave reviews. However, it was not much of a success in terms of distribution and sales. One of the reasons being that the quality of the print was not good enough due to insufficient fund. Also, I did not take time to study the industry and understand how it worked. I was just a greenhorn who wanted to get my work out there. I learnt my lessons.

It took another challenging five years to get the second edition of the comic published.  You would wonder why?  I'd been pre-occupied with my legal practice and lost touch with fine art to some extent, so I had to engage the services an illustrator. I'm more of a writer now. The search for an illustrator back then was consider tiring, perhaps because comics is not common in this environment. It took years before I got one who gave me what I wanted in terms of professionalism.  I actually had the comic redrawn four times by four different persons before I got what I wanted. I also had the cover page redrawn several times too. I've actually lost count of that. 

Apart from the challenge of funding, I had to contend with another challenge, which was that of getting a publisher. The first publisher I approached rejected my work on the ground that comics were for children and a comic book for youths and adults was alien to the Nigerian environment.

After much persistent search, though I was tempted to give up at some point, I came across Magic Wand Publishing, an innovative publishing house with a broad view to literary works. They were able to see through my vision and considered it a novel idea. We entered into an agreement that gave birth to the second edition of the comic. 

Distorted (The Nemesis) is set to redefine the face of comic book in Nigeria and beyond. Though not without challenges which at every point in time stares me in the eyes, I believe every challenge is a stepping stone to greater heights of excellence.       

The comic Distorted is distributed across  Nigeria by Magazine Circulation Nigeria Ltd, and available in major book stores.  Every year, the Garden City Literary Festival has writing workshops for budding writers. 

Tuesday 21 August 2012

The Voice Interviews: Adedotun Eyinade

Dotun Eyinade
Adedotun Eyinade started the Pulpfaction Book Club to encourage reading in Nigeria; they organise the monthly book readings at Debonair Bookstores. He tells us about his favourite five books. He had this to say about his love for reading.


What are your fondest memories of growing up? One of the fondest memories, asides attempting to read every book I found in our bookshelf, was making up with our neigbhours' kids with whom I had quarrelled because I wanted to swap novels with them. I also recall reading the Rise and Fall of Idi-Amin in primary school. A classmate had taken the book off his father’s shelf to brag about his father’s collections. I talked him into lending me the book. The book was eventually seized by my class teacher who felt the details in the book would fly over my head. It gave me great joy any time I recollect that I stole  the book back from my class teacher’s house when I visited him after primary school. Reading was all that protected me from negative influences rife back then in my neighbourhood. Reading Famous Five adventures, comics, Pacesetters series and African Writers Series fired my imagination and left an insatiable thirst for more books.

Why the interest in encouraging reading? I suppose encouraging reading came natural. I grew up in an environment surrounded by books. Books provided me succour and timely sanity while growing up. I have always been a believer in the capacity of a well-read public to challenge and unsettle a pernicious status-quo. The reason why we deify the puny minds who have brought us to this sorry pass as a nation is because we don’t know any better and the capacity to ask questions that reading fosters is sadly missing. I believe that building an army of well-read and informed citizenry is at the heart of well-intentioned effort to build the Nigeria of our dreams. I dream of a time when kids will be able to reel off from the top of the heads the names of celebrated Nigerian authors like they are familiar with the names of today’s soccer league and music greats.

When and why did you start Book n Gauge? Book n Gauge was informed by the need to bring books and authors closer in an environment where they can engage each other and swap ideas. Books and the themes they address are living subjects and they should fuel animated discussions they way soccer buffs fiercely debate matches. That passionate exchange is what we seek to achieve. The book of the month selection for our book club is also discussed during the event. What more, we are also not averse to good music, drama sketches, networking give-aways, photo-ops and autograph sessions. Who says reading cannot be hip and cool? I have always been puzzled by the dearth of collectives whose common interest is reading and books. It is worse that community libraries are sadly few, usually in a dismal state. I wanted to create an avenue for hip and busy crowd to spare time to read and share books that they love and draw meanings with social relevance. Reading can be hip and cool again. Reading is not only for the nerds and the wonks. We wanted to make a statement that one can be new media savvy, hip, cool and still be well informed. Through the Pulpfaction club, we want to create the biggest community of book lovers in Nigeria and our focus is young people who will eventually sire a generation of young ones who will be naturally gravitated towards books just the same way kids today are wont to do video games.

From my findings, in the early independence years, the reading culture was still around…what happened, in your own words? It is the economy, stupid. James Carville couldn’t have put it better. Nigerians became obsessed with the prosaic details of getting by to cater for their minds. Everything is now seen through the prism of utility. We go to school not to get our minds beautified but as a means to landing a plum job and thus the process is abuse. It is all about the money, that is our creed. So that means as soon as schooling is over then it is au-revoir to reading. I have heard this question ad nauseum: ‘will this book bring food to my table?’ The question of access is another thing. The crippling absence of infrastructure for distribution of books is disheartening. There are few good book stores and they are almost always located in the up-scale areas. Every other store masquerading as book stores only sell religious tracts. Government and corporate organizations must invest in building libraries and resources centres and make them accessible. Enough of jamborees and concerts. Let’s build an informed citizenry.

When it comes to the reading culture, what was different when you were growing compared to now? Bookshelves were fashionable in living room. In fact it was a sign that the family was a pretender to the non-existent middle class or the last vestige before the military era wiped them out. Today flat screen TV is the symbol of arrival. The bookshelves are gathering dust somewhere in the stores and no one remembers t build a study when they build fanciful houses.

How do you encourage people to read? Read along with others especially the book of the month. Hang out and discuss the books the same way we discuss the movies that we love and the soccer matches of the previous nights. Throw in good music, poetry and a good measure of the cool, perhaps Nigerians will start to read religiously the way they read their devotional material authored by their pastors.

How do you blend your passion for books with your busy schedule? I have got a great team that I could delegate tasks to. I also that I use public transport to work so that frees my time to read en route to and from work. I carry tablets too so I can jot my ideas and of course, I can push emails on the goal. Who ever created audio books deserves a place at Jesus’ right hand. I am a great fan. I have also caught down on faffing time on Facebook. The time saved leaves me with time to think about making reading cool again.

Is it true that Nigerians don’t read? Or do they just choose what they read? Nigerians read but they are too hungry to buy and care about books. Even those who are well off to buy books don’t read except to pass exams and get by. It is also a question of access too. No good book stores except shacks were they sell motivational and ‘how to be rich’ schemes.

Why is reading  important? Reading refines the minds and broadens one’s worldview. A widely read person sees the world differently. He/She is open minded. Like Francis Bacon Said, Reading makes a complete man. It is the ultimate step to getting there although we all don’t get there.

What do you think is the biggest challenge to promoting a reading culture in Nigeria: dying publishing sector, hunger or just lack of interest? Hunger. Getting down the bass tack, a hungry man needs to eat first before you pitch books to him. Feed him first and bring books along his way. It is still the economy, stupid.

How can the publishing industry boom? Investing in capacity and also build infrastructure for distribution. Let’s do other genres too. Something less serious. We should create our own Harry Potter

What do you think of the Federal Government’s “Bring Back the Book” Campaign? What can be done to improve it? It is another jamboree; another stunt. Bring back the libraries. Don’t pack the stage with pop stars who don’t know any better. Government should give incentive to publishing houses and prop up libraries with funds and books. Corporate Organisation should cut down on concerts. A reading public is a corporate asset.

What keeps you going despite all? The brevity of it all. So why not pack as much into it. Perhaps it could be eventful.

Define literature in a sentence The ultimate science of depiction of human nature. What the minds can conceive

Eyinade works as a risk advisor in a professional services firm by day. He is an ardent lover of books.

Sunday 19 August 2012

Chuma Nwokolo: On Writing His Stories

The idea for a story comes from the tale itself. I work like an amateur archaeologist. I usually stumble across a single bone. My first 'Waterside' story, "The Destitute" [African Tales at Jailpoint, 1999], came that way. 

Which bone I found? the first sentence: 

In the morning they found him lying by the roadside, not ten metres from Ma'Comfy's buka.

Pedestrian words, true, but one can never begin the reconstruction, until one feels, relative to any arrangement of ‘pedestrian’ words, the same breathlessness archaeologists must have felt when they first beheld the fossil of the feathered dinosaur, Archaeopteryx. When those words - and the image they evoked - first occurred to me, they felt electric and textured, so pregnant and portentous that I willingly submitted myself to the term of imprisonment that writing inflicts on its practitioners.

What I visualised in that sentence was a fellow lying on an untarred street, decent but well-worn clothes, a one-week stubble, that sort of thing. It was already clear to me that it couldn't be a Lagos street. For a start such a fellow would not make the evening news on a Lagos street, how much more the bookshop. It therefore had to be a tale from rural Nigeriana. Hence Waterside.

My investigation continued. Why was he lying by the roadside. Where was he going, where was he coming from. I decided straightaway that those last couple of questions were red herrings, completely irrelevant to a short story (which is the species of literature to which I had decided that this bone belonged). The relevant clue was 'Ma'Comfy's buka'. The woman and her buka were clearly key to the story. Writing a short story is like leaping off the bank of the Niger to dive for a gem at the bottom. You take one deep breath and go. Once you're in the water you don't have the time to mess around, you just take your single gem and go. A short story is like that. There's no time to follow every thread like a novelist who has his reader by the nose and trails him through Hell and all her Dominions... I promptly discovered Ma'Comfy right inside the crowd that had gathered around the man in the meantime. (Nobody had paid any attention to the fellow until he started to weep). Listen:

I just hate to see grown men crying.' - that was Ma'Comfy. She was the shortest person in the crowd, but she was also the fattest. She delivered her opinion, her cross-eyes looking at no one in particular, and she turned and pushed her no-nonsense way out through the press.

Now as soon as I wrote those words, I realised that although true, they were a skewed portrayal of a woman whose essential dignity could be traced in her no-nonsense manner and the fact that she had a buka to her name. I thought that to depict her essence by a superficial reference to her shortness, stoutness and the alignment of her eyes was akin to describing Nsala soup to a non-Nigerian by giving him a pepper. I then devoted some thought and pages to shading in the nuances of a essentially noble character who had somehow become more central to my story than the fellow on the roadside... the plot thickened. For a bustling street scene in a short story, one could hardly afford the privilege even of creating caricatures for every person with an opinion. So I caricatured the crowd itself, dispensing with individual characters in favour of one multi-tongued personality. This was how the dialogue went:

Although it had sympathetic voices, it wasn't a totally sympathetic crowd. A female voice was asking: 'Is he sick? is that why he's crying?' The crowd was not lacking in opinion. From here and there, the voices came.
'Even if he's sick, is that the reason for him to block the road? Is he the only one that is sick?'
'Me myself, does he know my own sickness? If I tell you my own sickness, now, all of you will start crying.'

I liked how it panned out, and decided to use that device further down the tale. By this time, I knew enough of the skeleton to show anyone peeking into the reconstruction chamber that my destitute had been well and truly rehabilitated by Ma'Comfy's peppersoup and by her dignified patronage. It was night time, the motley crowd was gathered around Mentu's suya brazier, but they were not interested in the grilled mutton, they were interested in the gist. What it was? You‘ll see. I identified one character, caricatured him, and cast him loose in the multi-voiced crowd:

That night, it was the passion of the discussion that welded the crowd together. What infuriated them most was the issue of the wrapper. No one was more incensed that Ntume the carpenter. he still recalled two years before, when bus-corner ankara first became the vogue. He'd had to sell his prized electric lathe to buy his wife's ankara in order to head off divorce. 'Kai! her own bus-corner
wrapper!'
`A beggarman to wear a whole councillor's wrapper!'
`That she wears on her own body!'
`Is black magic, nothing else.'
`You're right, only juju can make Ma'Comfy crazy like that.'
`Nonsense, there is nothing like juju in this matter, Ma'Comfy is
just a good Samaritan, that's all.'
`Hah! Good Samaritan indeed! Then why hasn't she mercied me all these
years I've been begging for her pepper-soup on credit? 

Of course there's a limit to the archaeology in literature. It is after all, more art than science. It is in the fleshing out that the art come into its own. Sometimes a bone will show stubbornly how it belongs in the prolix pages of a novel and I, unwilling to pay the terms of imprisonment for a novel, will snip it into a short tale. At other times, the What, Who and Why of it all begins to draw the story off into the tracts of a genre alien to my skill set and the inventor in me has to trump the archaeologist. It's my time and energy after all, and someone has to keep an eye on the game plan. Yes the story belongs to the bone, but in the end I must like it well enough to have its reconstructed beast sitting on my desk, answering to my name…

Every bone has an inherent integrity and my inventive efforts to make it interesting, funny, or modern may produce an unpersuasive Pterodactylus… the flying reptile that is neither bird of the air nor beast of the earth… It may rebel against my invention, preferring its own skin. For my own part, I might be repelled by the emerging identity of the tale (ie, Sorry, Bone, I don't do Hate tales…). At that point, I turn to my delete button, while my erstwhile inspiration returns to the lap of her muse, to seek a worthier writer.

Nwokolo is a writer, advocate, and publisher of African Writing. His books include Diaries of a Dead African (novel in 3 diaries) and Memories of Stone (Poetry Collection) and Ghosts of Sani Abacha. You can buy his titles here

Thursday 16 August 2012

Favourite Five: Kola Tubosun


Kola Tubosun

Kola Tubosun has published poetry, fiction, and travel articles in print and online publications around the world. His short story "Behind the Door" appeared in a 2010 short story anthology titled “Africa Roar”, available on Amazon. Author of a book of poems in English, Headfirst into the Meddle (2005), and an unpublished collection of translated poems and literary texts between Yoruba and English. Poems “E=mc2″ and “Creation Story” won the prestigious Christopher Okigbo Poetry Prizes in Ibadan in 2002 and 2004 respectively. Poem “Here, moving” won the Sentinel Poetry Bar Challenge in October 2006. He tells us about his five (plus one) favourite  books.

Surely You Must be Joking, Mr Feyman! Adventures of a Curious Character by Richard Feynman
Richard Feynman, physicist, artist and prankster, is one of my favourite characters, not just because of his work ethic or influence on modern science. He was also a person that valued the ordinary things of life, and did everything to live it to the fullest. That book, one of my first and most fascinating introduction to the man and to theoretical physics, is also one of my favourites. I read it again once in a while. I recommend the sequel as well "The Pleasure of Finding Things Out", which featured a few more essays on a number of different things.

My Uncle Oswald by Roald Dahl
It's one of the funniest, brilliant adult fictions I've read by a writer of children stories. I haven't read any other book by Roald Dahl, but this book was a very notable introduction. I got it as a gift in 2005, and I have bought it about three more times after then. It always kept walking out of my shelf. Anyone who reads it will discover why. Never having read Maurice Sendak either - another brilliant children writer - Dahl has remained one of my favourites. This book, My Uncle Oswald, features an alternate history of the world through the foibles of writers, scientists and other famous people. Watch out also for a copious amount of ribaldry. 

Illustrissimi by Albino Luciani
Written as letters to historical figures (dead and alive), Pope John Paul 1 addresses a whole lot of issues from a unique and often non-pedagogical perspective. It is notable that he was also the pope with the shortest reign ever (33 days or so), and whose death is subject to a whole lot of controversy and conspiracy. I have not read the book again in over a decade, but I remember being moved by the depth and range of his thought on a whole number of issues which no other major religious leader (especially in the Catholic church) has touched since. I'm sure that there are part of the work that I will disagree with now as I did then, but the brilliance of the form and content makes it one of my favourite texts.

Red Dust Road by Jackie Kay
Part autobiographical, part fiction, the author takes you on a road from Scotland to Abuja. It is one woman's journey to finding her roots. I'm still on the first few chapters.

Miguel Street by VS Naipaul, and Ibadan by Wole Soyinka 
I can't figure which I like more. Both are a fictionalized retelling of a youth. Naipaul's account starts much earlier than Soyinka's, but my closeness to the events recounted in Soyinka's quasi memoir makes it all the more fascinating. Less innocent than an earlier account in Ake, and definitely more engaging than a subsequent one Isara, Ibadan is fun, playful, intriguing, and genuinely representative of a crucial time in the country's history. It's Nigeria's version of The Portrait of an Artist as a Young Man. So is Miguel Street, by the way. Just much less fictional. Both writers are some of the world's best.

Tuesday 14 August 2012

Guest Writer: Lola Shoneyin

Lola Shoneyin is the author of So All the Time I was Sitting on an Egg, Song of a Riverbird, and The Secret Lives of Baba Segi's Wives. Read her poetry on Sentinel Nigeria. She lives in Abuja, where she teaches English and Drama. Lola is married, with four children and three dogs.

Doreen Baingana @ TEDxNairobi

Sunday 12 August 2012

The Voice Interviews: Ugo Chime


Ugo Chime started Sprouters, an initiative that empowers young Nigerian girls who aspire to become writers through online mentorship under experienced Nigerian female authors.

When did the idea for SPROUTERS start? I was writing this book back in 2009 when I was pregnant, finished it in 2010. And I thought to myself, ah the hard part is over. Now, time to edit. I edited, to the best of my abilities. Then, found an editor to help me smooth off the rough edges, assuming that it was just a minor work here and there. I was utterly shocked well, stupefied comes closer to describing my feelings, but let’s stick to shocked when the draft was returned with several red marks. And that was just the beginning of the countless red marks that followed that manuscript many more are ahead, I tell you. You could say this was my first experience really writing. Not just writing for my own pleasures, but writing for people to read. People will not be afraid to say, “this is rubbish.” That’s where I learnt that writing goes beyond talent. There’s a skill to be acquired. And I remember thinking, “if i had only realized this earlier. When I wasn’t holding down a demanding job, having a two year old screaming every second, having a husband that demands my attention. How much more i could have accomplished.” And knowing how many writers had helped me along the way till I got to the point I am now, I thought I could return the favour by coaching others who, by reason of their age or other restrictions, may not have the opportunity to learn how to write better.


Why just girls? The idea of SPROUTERS is to help other who otherwise wouldn’t be able to get this help for themselves. And in Nigeria, you have to admit that a teenage girl will have lots of household chores keeping her from attending literary events by herself. So, her opportunities will be limited to someone being free to chaperone her, or her parents being liberal enough to let her pursue her passion. I remember being a teenager, and meeting this boy who also writes and I thought, “hey, here is someone that can help me” but my parents, understandably, said no. If a teenage boy is friends with a girl, his parents would be concerned. On the other hand, if it’s a teenage girl, the parents would be alarmed. Because SPROUTERS is an online program, where parents are free to monitor what their girls are up to, those restrictions our mentees would have otherwise encountered are removed. But, we are not ruling our mentoring boys. We hope to introduce that in the future.

How does it work? Through one-on-one bimonthly online mentoring, young Nigerian girls resident in Nigeria, who have a passion for creative writing, are trained on the techniques and insights for great writing in all genres by published Nigerian women writers. Mentors and protégés individually meet online twice a month (the specific dates are to be agreed upon between the mentors and protégés). The mentorship program is designed for the mentors to give the protégés assignments on each meeting, alternating between writing and reading exercises.

How do you balance family life, SPROUTERS and your day job? How does anyone balance multiple functions? You do what you can, and ask for help when you can’t. I work 8am to 5pm week days. Living in Lagos, that translates to leaving the house at 5.30am, and returning home at 8pm. I try to squeeze as much writing, or writing-related matters during my hours at work. Of course, I’m being paid to be productive, so office work comes first. I make food when i get home (when I’m too tired, my husband steps in and feeds himself and our son), and try to sleep as early as possible. Weekends, I cram every aspect of my life into those forty-eight hours: Cooking, mothering, wife-ing, writing, and occasionally attending to official emergencies. I practically cry every Sunday evening, because I don’t know where the hours went.

Why do you think that mentoring is the way to go? What is the significance of mentoring in creativity in writing? Honestly, I believe mentoring has always been happening between writers. I remember how Eghosa Imasuen really took time out to reply my email, call me on the phone, chat with me, just to coach me on what writing is about. It may not have had the name ‘mentoring’ tagged to it, but it was certainly what he was doing. Helon Habila also read a chapter of my manuscript, and gave his opinions. That is mentoring. Chika Unigwe gave me the contact of her agent. That is mentoring. Ahmed Maiwada read the entire manuscript, and gave me very constructive suggestions on what to fix. I mean, if these don’t describe mentoring, I don’t know what do. The only thing I’m doing differently with SPROUTERS is that we are focusing on teenage girls. We are not waiting for them to come to us and say, “Please, I desperately need your help.”  It’s the other way round. Mentoring works, I think, beyond the other methods of impacting literary knowledge in that it’s personal. The mentor is specific to where the mentee lacks. It’s like a specialist going directly to where the problem is and fixing it. Of course, it is time consuming and hence does not often happen on a large scale. But, it is extremely beneficial.

What writing project are you working on now? Presently, I am still editing the manuscript I mentioned. It’s a tedious, long process, but with each editor, the book gets better. So, yes I am willing to let it mature like fine wine. I have another book project on, but to tell you the truth, I haven’t written past the first chapter. I’m finding it harder to write a second book than a first. All the mistakes I made with the first (corrected so far) are haunting me. I’m not writing as freely and blissfully ignorant as I did the first, but I believe you need to get the story out of your system. I’m working for landmines everywhere, and it’s affecting my flow. But, I’ll overcome, as usual.

How has it been, working with women and girls? Same as working with men and boys. Everyone deserves their respect, and people get angry if you don’t treat them fairly.

Asides helping their writing, do you think that this mentorship relationship can be beneficial for the young girls? If yes, how? SPROUTERS is also aimed at directing the girls towards great literary works of fiction and encourage them to understudy these writings, raising awareness of domestic and global issues affecting women and girls, and encourage the protégés to write about these issues that are holding them down or had held down any woman they know, introducing them to a wide range of writing genres, assisting them on their path to publication by editing their works (where a any of the mentees wish to enter for competitions, her mentor will help her edit the work before submission), featuring exceptional writings in online literary sites, and producing a circle of writers who will help each other along the way to building a writing career. While writing is a solitary mission, no good writer ever creates a work of repute alone.

What are the challenges? Surprisingly, one of the major challenge has been getting the girls signed on. While we have received a good number of applications, it definitely wasn’t up to the number we were projecting. I believe this is where publicity comes in. The more people hear about us, the more applications will follow.

What's the best writing advice you ever received? “A writer writes”

What role do you think that internet plays in the development of writers, especially younger writers? Immense roles. Of the nine mentors SPROUTERS has presently, i have only met three of them.  Of those three, two I met once. All my communication with them has been online. Same goes for the people I said mentored me in their own ways. Also, Eghosa, I have only seen twice, both times very short meetings. Imagine there weren’t such a thing as the internet? I would still be writing my ‘elementary school’ stories: rubbish upon rubbish.

What keeps you going? Once I was asking myself if this project was really going to make any difference. Shouldn’t i just forget about it? I have my hands full as it is, why add more? But, I reminded myself that the only people who have successes are those who keep pushing till the door opens. If I continue pressing on, there is a chance I will succeed. If I give up, however, that chance is gone.

What is your advice to young girls interested in writing? WRITE

Where do you see SPROUTERS in five years? In every country.


Friday 10 August 2012

Excerpt: Eyes of a Goddess by Ukamaka Olisakwe


Papa always rode home in his old Suzuki motorcycle. He would perch on it like a proud king, his hands gripping the handles firmly, and his back straight up as if he had swallowed a flat board. And there was always character in the way he climbed on or off the motorcycle; one leg raised high and over the seat, like the boys practicing karate at the church, then arching swiftly and landing precisely on the pedal. Then he would turn on the ignition, let it hum for a while before revving it loud enough for the neighbours to hear. And when he drove in at the end of the day, he revved and circled the compound almost in a full circumference before parking it at the stem of the coconut tree.

But when Papa came back from the church without his motorcycle, his brows set in thick furrows and his mouth in a pout, I knew something was wrong, and things were about to take a different turn. His strides were determined and his slippers made slapping sounds under his feet, raising little puffs of dust. I was seated on our veranda tugging my right sixth finger.

“Papa, nno,” I greeted. But Papa didn’t respond.

Papa darted into the sitting room and sat on our armchair.

I peeped from the window, found him sulking, staring angrily at the ceiling. I didn’t know whether to go to him and ask what bothered him, or to go get Mama, who was seated by the side of the house, between the banana and guava trees, with her friend, Ochiora. Their voices flittered from amidst the trees; their discussion was about Mama Ifeoma who just lost her husband.

“I heard she was caught again with Otenkwu in the bush near Eziogo yesterday!” Ochiora squeaked in her thin voice.

“Eziokwu? What were they doing hiding in the bush?” Mama asked.

“I heard he was fondling her breasts!”

“Hee! Hee! Hee!” Mama guffawed.

I’ve always wondered why Mama’s voice sounded so grouchy that even when she laughed, it came out with a raspy lilt.

“Men have no shame. Imagine that irresponsible old fool fondling the sagged breasts of a widow whose husband is still maggot feed six feet below!” Ochiora said.

“Ah! Ah! Stop laying emphasis on those breasts, please,” Mama cackled bashfully.

“Ha pum! Let me say my mind. Or, is it my fault that her breasts are shrivelled like an old man’s testicles?” Ochiora asked.

“Ta! Ochiora, you talk too dirty! Mechie onu! Your mouth needs to be scrubbed clean with an iron sponge,” Mama replied, laughing out loud again.

“Yes now! Didn’t you see how they flapped freely against her chest as she ran to see her husband’s corpse when he fell from that palm tree?”

“And to think of it, Otenkwu was her husband’s best friend. They tapped wine together as teenagers. Hey, women, we will never cease to shock the world,” Mama said.

“I even heard that she has been messing around with that Otenkwu a long time ago before her husband’s death,” Ochiora confided.

“Inukwa! Are you sure?”

“How can you ask if I am sure? Have you not heard that he had been bedding her early in her marriage and her always drunken husband never knew?”

“But if this is really true, then Otenkwu has set out a deadly path for himself. When the dead remember him, he will wish never to have been born!”

“I even heard Mama Ifeoma’s brother came all the way from Nimo, to warn him just early in this New Year. But he is headstrong! He even says he will marry her!”

“Chi m! While she still mourns her husband…? When death comes to kill the dog, it will not even let it perceive the smell of faeces,” Mama intoned.

“Do you pity him? Let him continue. “Anyone who is being treated for a deadly illness, but keeps having an erection, should be left to die,” Ochiora said. Mama gave a short laugh.

“Yes! He should be left to die since he wishes to shag with ghosts!”

They both laughed louder; the sound rumbled around the compound.

It was surprising that Mama stuck to a friend whose every other sentence was always peppered with words meant only for adult ears. Perhaps, Mama secretly liked gutter language. Ochiora was not a born again Christian as Mama. Sometimes I felt that through Ochiora, Mama allowed herself to live the life that otherwise only existed for her as a subconscious experience.

I peeked again through the window netting, to see Papa still looking downcast and alone.

Mama’s laughter died in her throat when Papa bellowed in a lusty “Mama Nkemjika! Come here!”

She scurried from the backyard and passed a glance at me, at how I swung my leg from the veranda, before darting into the house, saying, “Papa Nkemjika, what is it that got you upset this afternoon? When did you ride in?”

“My motorcycle has been stolen!” Papa cried out like a child.

I peeped from the window to see as Mama’s hands flew to her chest, like one with a sudden heart attack, before she cried “Obala Jesus, Blood of Jesus!” She had her back to me, and she towered over Papa.

Ochiora dashed into the room then as Mama screamed. “What happened, Papa Nkemjika?”

“His motorcycle was stolen!” Mama responded.

“Ewoo! Who stole it? Where? When?” Ochiora asked as she came to sit beside Papa. Mama didn’t sit down; she loomed in front of Papa, as if she wished to beat the story out of him.

“Who stole it? Ehn? Who stole it?” Mama asked in that tone that sounded as if she had bought the motorcycle with her own money. “Who stole it?”

Papa sighed; his jaw nestled in his palms. He started, “It was after service that I went to greet the vicar, to thank him for a prayer well said on behalf of all the unpaid civil servants in our state. He had prayed that the hands that dangled our civil rights above our heads, far beyond our reach, would weaken; resulting in our freedom.

“Ehen? And what happened?” Mama asked.

“He even gave the special adviser to the governor, who had come for a thanksgiving service held by one of his cohorts, the tongue-lashing of his life. The honourable vicar openly scolded him for misleading the governor. You should have seen the fat fool trying to hide his mammoth head in between his fat shoulders! Even his enormous gut wouldn’t let him bend his head.”

“Papa Nkemjika, and what happened to the motorcycle?” Mama pestered.

“I am coming to that,” Papa replied, “So, after the wonderful service, I went to the vicar, to thank him for preaching the truth. You know, every other priest in the state has either pretended all is well, or has refused to talk about our troubles. They all shy away from the topic, as if they cannot see the sufferings of our people. Some cowardly ones even pray for the governor just to gain recognition.”

Mama sat back on the chair, realizing it would not do to rush Papa. Papa loved taking his time to tell a story, as if he really wanted you to see this picture through his own eyes.

“So, nwuyem, my wife,” Papa said forlornly, “I talked at length with the vicar and he asked me to come with him to his quarters for a short prayer. It was much later that I remembered that those boys who stole the church’s fans might still be lounging around. I hastened back to where I had parked my motorcycle to find it was still safely tethered to the Ukwa tree.”

“It was there, still tied to the tree?” Mama asked.

“Yes, it was. I danced to the altar, to thank the Lord for this safe keeping. I didn’t spend more than ten minutes of thanksgiving. When I came out again, my motorcycle was no longer there!”

“Hey! Just like that?” Ochiora asked.

But Mama had a different look on her face, the kind you have after eating a spoonful of soured egusi soup. “So, you found the motorcycle safe and you still went in to give thanks? After the church was dismissed? You didn’t deem it fit to give thanks in your heart?” Mama asked angrily.

“But I had to thank God for the safe keeping,” Papa said.

“And what happened afterwards? Eh? You got it stolen then!” Mama cried.

I sat back on the veranda while Mama grumbled and Ochiora cooed. It was all so familiar, and at times like that I worried why Papa tolerated Mama talking down at him. I wanted him to be a tad hard and strong-minded. But he always waved away her nagging. Papa was quiet throughout dinner that night. He only paid attention to Adaeze, feeding her small moulds of the fufu which he dipped first into the tasty onugbu soup. Adaeze muttered “water” after a few swallows. Mama pushed a small plastic cup of water to her. Mama didn’t talk to Papa. A frown creased her forehead as she nibbled at a piece of meat, her gaze focused intently on the grey images on the television. I felt she missed the motorcycle—our pride and joy in a clan where most men rode on old bicycles.

I sat behind our chair, where I always sat during dinner, and picked at my food. Mama gobbled down her food, her munching mixing with the noise of our television. It was our turn to have electricity, as it said in the time-table which the men from the NEPA office at Awka had drawn up for us. We enjoyed electricity rarely, just three times a week – and that, too, only if it came on – while the other neighbourhood had it the next three days.  At seventeen, Nkemjika still shared a plate with Ebuka, who was seven years younger.  Ebuka’s eyes were, as usual, glued to the wrestling match on the TV screen. He would linger at moulding his fufu when any of the wrestlers made an acrobatic tumble and landed on their opponent’s body. Ebuka would then smile and hail the wrestler with words like “idi too much!” or, “Nwoke ike! Strong man!” This was his third day in a row watching the same clip.

Nkemjika switched to the network at 9pm. Nkemjika never missed the national news and that night, the UN was making peace in far away Sudan. I sat at my position and watched Papa’s face as it creased in disgust at the hero worship offered to the UN soldiers. There was something there that had my stomach in tight knots when his gaze settled on me. After I had stared at him longer than it would have taken me to eat my meal, I stood up with my plates and said, “Thank you, Sir,” to him, and “Thank you, Ma,” to Mama before disappearing outside, to sit on the veranda and watch insects bop their heads against the fluorescent lamp.

Papa’s comment about the United Nations rose above Nkemjika’s responses. The UN, he said, does not care about Africa, was not meant for Africans.

“They don’t care if we slaughter our neighbours. They will troop in here all dressed up in fancy camouflage and boots and guns in the name of fighting for peace, but use that opportunity to loot whatever they can lay their hands on. They don’t care for black men. To them, we are a bunch of barbarians,” he said.

“But we Africans slaughter our neighbours, Papa. We are barbarians,” Nkemjika countered. “We fight our neighbouring communities.”

“Oh forget that! It is the UN inciting community clashes over diamonds, gold, or oil. They supply rival clans with machetes and guns in exchange for diamonds, gold, or oil.”

“They work on our psyche, Papa. They know we are greedy, so they use it to turn us against our neighbours.” Nkemjika’s tone was patronising, meant to goad Papa. And Papa fell for it. He went into his famous speech about how the British ruined Nigeria, how they amalgamated people with different beliefs and thinking, then they discovered that the Igboman was smart and made sure he would never succeed in politics. Then Papa launched into the war stories.

It was always that way with Papa. His famous talk about how Nigeria used genocide and starvation to wipe out the Biafra nation bored Mama to tears. She and Nkemjika knew never to interrupt him when he went into the Biafran mode. They listened; else his anger for our failed Nigeria would be vented on them. His voice wafted over to me through the open window. I would have seen him boiling in restrained anger had I peeped through the old mosquito netting. But I sat there, alone and bemused, in the quiet starless night, with hundreds of questions flitting through my mind, questions that I never gave voice to. Dark images flapped webbed wings around the compound. I was not scared. I sat there, knees close to my chest, enveloped by the chirping of night insects until a strange thud began to thrum in my chest. I felt slow drips of sweat start to pool under my arms, and my eye brows twitched.

“Isele,” whispered an amplified female voice so close to my right ear and everywhere. “Isele, it is beginning.”

I snapped my head, to my right.

No one was there.

“Isele!”

I felt a sudden coldness, a distinct shift in the temperature. Something crawled under my skin, something eerie and scary. I jumped up and dashed back into the house.

Ukamaka Olisakwe is the author of Eyes of  Goddess published by Piraeus Books

Thursday 9 August 2012

Guest Writer: Veronique Tadjo


Véronique TADJO was born in Paris and grew up in Abidjan, Côte d’Ivoire. She has a BA in English from Abidjan University and a doctorate degree in African American Literature and Civilization from the Sorbonne. In 1983, she was awarded a Fulbright scholarship to Howards University in Washington, D.C. and then went on to lecture at Abidjan University.  She has travelled extensively in Africa, Europe and America and has lived with her family in Lagos, Nairobi and London.

Tadjo’s work includes two collections of poems, Laterite/Red Earth, which won a literary award and several novels among which The Shadow of Imana: Travels in the Heart of Rwanda which bears witness to the genocide and Queen Pokou: Concerto for a Sacrifice based on an ancient Akan myth. It was awarded the prestigious prize, “Le Grand Prix Littéraired’Afrique Noire” in 2005. Her most recent novel, Far away from my Father is a story set against a backdrop of looming civil strife in Côte d’Ivoire that highlights the tension between tradition and modernity, between faith practices and scientific truth, as well as the deceptive legacy of polygamy. Each of her novels explores the dynamics of an individual’s most intimate relationships and the social contexts that shape them. She is also a writer of children’s literature, an illustrator and a painter.  She has facilitated writing workshops in several countries namely in France, Mali, Haiti, Rwanda, South Africa and the Benin Republic.

Her work has been translated into many languages, including English, Swedish, Italian, German, Vietnamese, Xhosa and Afrikaans. She was a judge for The Caine Prize for African writing and for the European Union Literary Prize for South African writing.

Sunday 5 August 2012

Ukamaka Olisakwe: On Writing Eyes of a Goddess

Eyes of a Goddess is Ukamaka's debut novel. She was part of the GCLF writers workshop last year. She tells us about her writing journey.

Sometime early October, 1991, I dreamt that I died during a stampede. I was nine years old and the fear left me in cold shudders. I remember running out of the room and screaming 'blood of Jesus!', as we were taught to say in church. For hours that nightmare left me paralysed in fear, and it marked a defining moment; it was the next day that the bloody '91 Kano riot began. I was shocked by what humans could do to other humans, at how easily we could snuff lives. I knew of family friends who lost loved ones in the bloodbath. My cousins were trapped in the heart of Kano. Dad took the risk, when Mum couldn't stop crying, and went in search for them. Fear is like a huge stone sitting in your stomach; it sat in mine for hours. I cringed and wept while we waited for dad's return. The stories of butchered women and children filled Sabon Gari -- where we lived, the tales of family burned in their homes raved, and of people butchered. We had neighbours whose relatives escaped with minimal cuts and burns; they told saddening stories. I kept shaking, until dad finally returned with my cousins and aunt, all six of them. For years I remember the joy in mum's eyes, the laughters and then tears. I still remember the faces of relatives searching for loved ones, of people severely hurt, the endless cries of “Boys Oye!” by the vengeful Christians in Sabon Gari, and the intermittent screams that the rioting men were closing in on us in Sabon Gari. I stayed awake for most of the nights, with the strong belief that if I stayed wide-eyed, the rioting boys would be kept off. And they were kept off. And after the fifth day, the Nigerian Army was redeployed to the beleaguered State. 


My quest began when I was much older; I tried to understand why human beings could hurt others, how the decisions we take make or break the lives of others. That memory of the riot and many other experiences stayed with me. For years I lived with those fears – those demons. It was the reason I never became very fluent in the beautiful Hausa language, why I hardly ventured outside the confines of Sabon Gari all through my stay, except during my short studies at the Federal College of Education, before dropping out at the age of nineteen. Each time I tried to open up, to learn, that crippling fear kept jumping and clamping my stomach into a hard ball. I lived with those demons, lived like one in a blur. 

Writing brought freedom -- I was encouraged by my friend, Idris Saliu, to write stories after he read my scribbles. Writing is like exorcising demons; those voices up there begging for freedom, to be penned down, the voices of the people in various times in my growing up: happy, wishful, lusty, sad. I walked with them and did not have peace until I abided to their whim. They hum when I'm in company of friends, and I had to furiously write in long hand, which had my friends muttering: “Wetin be her own sef?”

The voices never let you go until you have set them free, until you pen the last word, then you exhale, like one doused with a bucket of cool water after a marathon. But it goes away, this orgasmic state, because they return again. Again. And again. With different stories. They come when you accidentally flip through TV channels, or through books, or even listen-in on a conversation that isn’t your business in the first place. They trigger some sort of memory. They get stronger each time, their voices sharper and clearer. Your skill as a writer sharpens with each completed short story or book, and you marvel at the wonder, at the profound creativity, of being able to birth such beautiful children with finesse. You begin to accept that truly, this is who you were made to be, who you will always be: a story teller.

I’ve been asked how I wrote Eyes of a Goddess. A friend said he ‘suspects’ me, that perhaps, that was truly my story. There is the truth that the character grew up in my village; in my house, lived in same room I slept in for years, but that was where it ended. The story grew naturally on its own.

To tell about Njideka -- the narrator in Eyes of a Goddess, I had to let her become me. I think that’s the point where budding writers trail off: the inability to let your characters think and feel like familiar people. Njideka would be as tall as I am if she were my age, and she had my face. And to make her feel comfortable, I had to let her feel at home in my memories; my home. I had to let her into my secret and being, to become one in body and soul. It helped me interpret her feeling/emotions just as I would if it happened to me, to react or burst out just as I would, to become aware of her sexuality just as I did. I think that’s why most people read Eyes of a goddess and ask if it actually happened to me because the story was not told in a detached tone like a shrink reading out the notes on her patients. It is like I was telling the world: This is me! I was depressed at some points too -- it affected me as a person having to write such a passionate story. Most times I cried. I cried a lot while writing it, laughed a lot too, and at nights I dreamt I was Njideka. That is how strong a character could be when you see their lives through your own eyes – through the eyes of our many personalities. But the major challenge is in separating yourself from your characters at the end of the story, to move on no matter how your story turned out. This is very crucial.

Fiction writing gives you cover and power; the power say 'Let there be light!' and there will be. You could recreate lives that were already lost, you could incorporate every facet of life as you wish, imaginations, and those fears you would not ordinarily give voice to on any other day. It gives you the opportunity to punch people in the face with truths that you would not easily tell them, especially those that are so far from your realm or circle of friends, and you get to package the story in such an appetizing way that would be alluring and punchy at the same time. It’s like cooking a dish that is hot and cold at the same time. How possible is that? Writers are magicians!

The trying part was after I was done with the story. Okay, here, most people get lily-livered; you get afraid when you are advised to let a third eye read your work. But it was very important that a third eye read my book; it was my first time. I met a close friend online – Richard Ali. He read the first three chapters and went: “Wow! Wow! Wow! This is beautiful!” I did acrobatic tumbles on my bed, though I tried not to break my neck.. hehehehehe! It was satisfying to have such an educated mind read my story and make such a comment. I sent him the next three chapters, and that was when the whole bubble got burst.

“Wait! Wait! Ukamaka, you are all over the place. What happened? What happened to that first writing style? What's the story about? You are rubbing it in and it is boring,” RA said to me over the phone. I was deflated like a balloon, and the crash to earth was dizzying and painful. But it was a necessary one. Together we reshaped the book. All unnecessary parts were cut off. I was well over a hundred thousand words when we began, and after he was done, I was left hanging limply on a seventy-five thousand. Am I happy? Hell I am! Most times in our fight to write lengthy stories like other established writers, we over-write; clog our chapters with paragraphs that get bogged down in shoddy details, and they add no value to the book. A third eye is like your final audience; he gets to LIVE your story while reading, and he judges if it is realistic, feasible, alluring, or a total put-off. 

On publishing: Writers reel out stories of rejections. Some paint them so colourful, you are filled with fear. I had a rejection and an unreturned query letter. But I got lucky; met the humble Prof. Paul Nnodim, the publisher at Piraeus Books LLC, Massachusetts, USA. It was fulfilling, kind of. Though for weeks after I held the first copies of my book, I was filled with this overwhelming emotion, one I couldn’t name. It was unbelievable -- what I created, though I do not go about aggrandizing my accomplishments; I am still a beginner, and I'm liking the voices now.

Friday 3 August 2012

Guest Writer: Chibundu Onuzo

Chibundu Onuzo started writing novels and short stories at the age of 10 and less than a decade later, she became the youngest woman ever to be signed to Faber and Faber, which has published books by 12 Nobel Laureates and 6 Man Booker prize winners.

Chibundu, the youngest of four children, spent 14 years of her life in Nigeria before moving to England to continue her secondary education. While at boarding school, she started writing ‘The Spider King’s Daughter,’ with her home city of Lagos serving as inspiration. The novel is part of a two-book deal with the publishing powerhouse and charts the unlikely relationship that develops between a poor street hawker and a sheltered rich girl who meet on a street in Lagos.

“I love telling stories. It’s really that simple.”

Since its release in March 2012, the book has garnered a 4.5 out of 5 star rating on Amazon and a 4 star review from The Metro. It has even earned her a place alongside a Booker prize-nominated Oxford professor on the longlist for the £10,000 Desmond Elliott Prize for debut novelists.

Chibundu has given readings at the South Bank, The Sunday Times Oxford Literary Festival and Cambridge Wordfest and recent media appearances include BBC Radio 3’s ‘The Verb’ and BBC Scotland’s ‘The Book Café.’ The Times describes the book as ‘a dark, tense, gripping first novel, peeling back layers of Nigerian society.’ The Observer calls it ‘an energetic thriller debut’ and the Financial Times writes, ‘there are promising flourishes here that catch the eye.’ In other parts of the world, The Strait Times, Singapore’s leading newspaper, describes the book as a ‘deliciously layered tale of corruption, revenge and coming of age,’ and the South Africa Times writes of Chibundu, “kill me dead. This girl has skills.”  

21-year-old Chibundu has also been profiled by CNN; The Observer recently named her as one of the Authors to Watch Out For in 2012.

“I don’t see success as a personal achievement. It’s not like I woke up and educated myself.” She says.  In June 2012, she was listed as The No. 1 Black Student in the U.K at an awards ceremony held at parliament. This year also, she finished a History degree at King’s College London where she obtained a first class. She plans to complete a Masters in Public Management and Governance and, if the success of her first book is anything to go by, her second will be another literary delight.