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October is over, which means the end of my literary celebration of Nigerian women writers - my way of saying Happy Independence to my fatherland. I had a lot of fun researching and writing these posts on these extremely talented women. I also learned a lot on the way, while also getting to read as much of their work as I could. I had, however, hoped to do one post a day (at one point, I even thought I could do at least one post a day). Sadly, 10 days into the celebratory month, I was off on a work trip (to my fatherland, surprisingly) and where I was they had very erratic internet making it hard to post as regularly as I wanted to. 

Having said that, I was able to focus on 12 writers - who between them showcase the diversity of literature from Nigeria over the last 56 years: from Balaraba Ramat Yakubu writing books of love in Hausa to Kiru Taye and her sensual and passionate romance and erotica stories.Nigeria's literary history also includes Adaora Lily Ulasi and her 'juju fiction, the first published Nigerian female playwright, 'Zulu Sofola, contemporary poets - Jumoke Verissimo and Ijeoma Umebinyuo who are producing exciting works, writer, editor, critic and great contributor to literary arts in Nigeria - Molara Wood, Mabel Segun - a champion for children's literature, the 'Queen of African Horror' Nuzo Onoh, Chikodili Emelumadu who writes (mainly) SFF short stories, as well as and Suzanne Ushie - who also writes short stories (her most recent on that which we rarely talk about in Nigeria - sexual harassment in the workplace) and Nike Campbell-Fatoki, who writes both historical and contemporary fiction. 

Still, it was 56 years of Nigerian literature, and in the course of thinking up the series this year, I did find more than 12 writers. So for my (belated) final celebratory post, I bring to you 56 Nigerian women writers - novelists, playwrights, poets, short story writers and more - who have published works over the last 56 years. I have tried to be as diverse as possible in my selection including newer and/or emerging writers, as well as established ones, but of course there will be names that are missing (owing to me focusing on the post-Independent era and to me also looking at 56 women writers). The 12 I listed above and featured over the last month are, of course, included in this list of 56. So in alphabetical order (and from left to right), here they are.



I begin with Ayobami Adebayo, who I featured a couple months ago and whose debut novel Stay With Me is on my must-read list. It's published by (what seems like) everyone: Kwani? in Kenya, Canongate in the UK, Knopf in the States and Canada, Ouidabooks in Nigeria and Pirat Forlaget in Sweden -  and will be out next year (the Kenyan edition should be out soon, I think). Her short stories have appeared in a number of magazines and anthologies, she is the fiction editor of Saraba magazine and was shortlisted for the Miles Morland Scholarship on 2014 and 2015. 

Next up is Sade Adeniran - writer, filmmaker, basically a storyteller that can work in multiple media. Adeniran's debut novel, Imagine This, is told by Lola Ogunwoe in journal format. It was originally self-published in 2007 and went on to win the 2008 Commonwealth Writers' Prize for Best Book in Africa - it's also going to be adapted into a movie (written by Adeniran). The sequel, A Mother's Journey, is a short film which continues the story of Lola Ogunwole. There's also writer, broadcaster and political analyst, Ifeluwapo Adeniyi - whose debut novel, On the Bank of the River was longlisted for the 2015 Etisalat Prize for Literature, as well as the 2016 NLNG Prize for Literature. A story of love and motherhood, Adeniyi started writing it at 17 and finished it when she was 19. Of course, Chimamanda Ngozi Adichie, who really needs no introduction (3 novels, 1 short story collection, countless other short stories, film adaptations, Flawless, Dior, Boots No.7 and many many more). 


 


Also on the list is Oyindamola Affinnih - who gave up law to become a writer - is the author of two novels - her debut Two Gone ... Still Counting and the Ankara Press novel A Tailor-Made Romance. As well as Kaine Agary, whose novel Yellow Yellow set in the Niger-Delta and following a bi-racial woman, Zilafeya, won the NLNG Nigeria Prize for Literature in 2008 and the 2007 ANA/Chevron Prize for Environmental Writing. And Pemi Aguda - winner of the 2015 Writivism Short Story Prize for her story 'Caterer, Caterer' - who writes short stores and flash fiction. Her work has appeared in The Kalahari Review, Black Fox Literary Magazine, Prufrock Magazine and Munyori Journal to name some. Aguda also co-blogs at Nik-Nak - a space where she and Kovie Parker 'share all the rad things [they] come across'. There's Halima Aliyu whose debut short story collection, Fire on the Tip of Ice, was published in 2015. In an article for Daily Trust, the title story - 'Fire on the Tip of Ice' - is described as one that 
captures the frustration of a woman who is disregarded by her husband, except when he has sexual need for her. Her frustration results in her taking some rather shocking actions that affect not only her but her children.

Next on the list is Rafeeat Aliyu, who 'loves food, learning about pre-colonial African history and watching horror movies'. She also 'writes weird and speculative fiction sometimes.' Her stories can be read in the AfroSF anthology and Omenana. Also Zaynab Alkali - who is said to have been one of the first woman novelist from Northern Nigeria - and whose works include The Stillborn (published in 1984 and awarded the Association of Nigerian Writers prose prize in 1985), The Virtuous Woman (published in 1987), the short story collection Cobwebs & Other Stories (published in 1997), The Descendants (published in 2005) and The Initiates (published in 2007). Alkali came from 'an artistic family' - her mother a singer, maternal grandmother a composer/singer and maternal grandfather a drummer; and though she wrote in English, found 'writing in English agonising' ... especially when it comes to dialogue' - as explained in a fascinating interview with Adeola James published in 1990. 

Among the 56 women is writer and lover of good food, Yemisi Aribisala, who has written about Nigerian cuisine on several sites, including Chimurenga Chronic and her forthcoming book - Longthroat Memoirs: Soups, Sex and Nigerian Taste Buds - contains essays on Nigerian food. Ola Awonubi's first foray into the world of romance fiction was the Ankara Press novel, Love's Persuasion, but her short stories have featured on StoryTime, Brittle Paper and Naijastories.com.

There's also Simi Bedford - best known for her novel Yoruba Girl Dancing - a semi-autobiographical novel about a young Nigerian girl's education in the UK, but she also wrote historical fiction, Not With Silver (published in 2007) - about an aristocratic West African warrior betrayed and sold into slavery. While Maryam Bobi's debut novella Bongel - about a woman who was married off as a child - is one of five books (including Halima Aliyu's Fire on the Tip of Ice) published through the Minna Literary Series (an  initiative where writers based in Minna are published with the government taking responsibility for 70-100% of the production cost). 



Kiru Taye was one of the featured writers, but another on the list is Buchi Emecheta - who also needs no introduction, and has written for adults and children. Her works include Second-Class Citizen (1974), The Bride Price (1976) and The Joys of Motherhood (1979). Chikodili Emelumadu was featured in more detail in previous posts, but next on the list is Akwaeke Emeze - whose debut novel, Freshwater, will be published in 2018 (so one to add to your future reading lists) and was awarded a 2015 Miles Morland Writing Scholarship for her second novel. The Death of Vivek Oji. Emeze doesn't only write, as she is also a filmmaker - having shot, directed and edited the 'experimental short', Ududeagu. 

Another Ankara Press author on the list is Chioma Iwunze-Ibiam, whose first novel with the imprint was Finding Love Again. Iwunze-Ibiam also blogs at Creative Writing News and her stories have appeared in Saraba and Long Story Short to name a couple. A social worker in children's mental health, Yejide Kilanko is the author of Daughters Who Walk this Path and the novella Chasing Butterflies. There's also Sarah Ladipo Manyika, whose novels include In Dependence and Like a Mule Bringing Ice-cream to the Sun (shortlisted for the 2016 Goldsmiths Prize) and recently explained why she chose an African publisher over a western one for her second novel. 

The first African woman novelist to be published in English and also the first African female publisher, Flora Nwapa, is also one of the 56 Nigerian women writers celebrated, along with Adaobi Tricia Nwaubani - novelist and essayist - whose debut novel I Do Not Come to You by Chance won the 2009 Commonwealth Writers Prize Best First Book (Africa) and the Betty Trask Award for Best First Book in 2010. Molara Ogundipe is also on the list - poet, critic, editor and one of the foremost writers on African feminism and literary theories. Then there's writer, curator and arts project manager Irenosen Okojie - and writer of Butterfly Fish and the short story collection Speak Gigantular. As well as Ifesinachi Okoli-Okpagu - a marketing communications executive and author of The Domestication of Munachi  - about the 'unnecessary pressure on women to take on life partners.'

Amara Nicole Okolo is the author of Black Sparkle Romance - another Ankara Press publication, who is also a young lawyer and lover of cupcakes, green tea and her kitten. There's also award-winning author and professor, Nnedi Okorafor - who also ready needs no introduction (winner of many awards including World Fantasy, Hugo, Nebula, Wole Soyinka Prize for African Literature, Africana Book Award) and writer of many, many books for children, young adults and adults. As well as Ifeoma Okoye - who also writes for children and adults. Her debut novel Behind the Clouds (1982) won the Nigerian Festival of Arts and Culture Award, her next novel Men Without Ears (1984) won the Association of Nigerian Author Best Fiction of the Year Award, her short story Waiting for a Son was joint regional winner (Africa) of the Commonwealth Short Story Competition in 1999. Her most recent novel, The Fourth World (2013) was shortlisted for the 2016 NLNG Prize for Literature.

Also on the list is author of the short-story collection, Happiness, Like Water (2013) and award-winning Under the Udala Trees (2015) Chinelo Okparanta; along with Ayodele Olofintuade whose children's book Eno's Story was shortlisted for the 2011 Nigeria Prize for Literature, and focused on the subject of a young girl being accused of being  a witch. Olofintuade also wrote the BrittlePaper eight-part series, Adunni: The Beautiful One Has Not Yet Died which centred on the 'strange and terrifying word of an Abiku.' And South African based writer, architect and designer Yewande Omotoso has published two novels - Bom Boy (2011) which won the 2012 South African Literary Award for First-Time Published Authors, as well as the M-Net Literary Awards 2012 and The Woman Next Door (2016). 

Nuzo Onoh was already featured, but there's also writer and artist Mary Okon Ononokpono, winner of the 2014 Golden Baobab Prize for Children's Literature with her short story, Talulah the Time Traveller, which will soon be published as novel. Ononokpono was also shortlisted for the 2015 Miles Morland Foundation Scholarship. Also on the list is Chibundu Onuzo - author of The Spider King's Daughter  (2012) winner of a Betty Trask Award, and the forthcoming novel Welcome to Lagos (2017). As well as Chinelo Onwualu - writer, editorial consultant, editor and co-founder of the speculative fiction magazine, Omenana, and the chief spokesperson for the African Science Fiction Society. Longlisted for the British Science Fiction Awards and the Short Story Day Africa Award, Onwualu's writing has appeared in Strange Horizons, The Kalahari Review, Saraba, Brittle Paper, Jungle Jim and the SF anthologies - AfroSF vol 1, Mothership: Tales of Afrofuturism and Beyond, Terra Incognito and Africa 500. Her piece, The Unbearable Solitude of Being an African Fan Girl is an ode to well, African fan girls. 





On my list of 56 is internationally acclaimed playwright,  writer and scholar Osonye Tess Onwueme, who has written, produced and published over 15 plays including The Desert Encroaches (1985) and won several prizes for her work - the Association of Nigerian Authors Prize for Drama for many of her plays, including The Desert Encroaches. There's also Helen Oyeyemi - another author of many, many works who needs no introduction, including The Icarus Girl and Boy Snow Bird, a short story collection, What is Not Yours is Not Yours and two plays Juniper's Whitening and Victimese. Writer and publisher, Tolu Popoola, left a career in Accounting in 2008 to pursue writing and publishing  and since then set up Accomplish Press and published the romance novel, Nothing Comes Close, as well as two collection of flash fiction - Fertile Imagination and Looking for Something. 

Abidemi Sanusi, is another writer on the list (although she does a host of other things - as do most of the talented women featured), who was shortlisted for a  2010 Commonwealth Writers' Prize for Eyo (2009). Her other work's include Kemi's Journal (2005) and the sequel Zack's Story (2006). As well as Aramide Segun - whose debut novel The Third Pimple won the Association of Nigerian Authors Prose Prize and was shortlisted for the Commonwealth First Book Prize. Her most recent novel, Enitan: Daughter of Destiny was also one the shortlisted books for the 2016 NLNG Prize for Literature. Mabel Segun was one of the 12 women featured during the celebration, and another poet and writer on the list is Lola Shoneyin - author of The Secret Lives of Baba Segi's Wives (2010), the children's book Mayowa and the Masquerade (2010) and the founder and festival director of one of Africa's top literary festivals - Ake Arts and Books Festival. 


Playwright 'Zulu Sofola was showcased during the celebration last month, and also on the list is poet and performer Titilope Sonuga whose poetry collections includes Down to Earth (2011) and Abscess (2014). Sonuga also acts and is Intel's ambassador for the She Will Connect Programme in Nigeria. Kiru Taye was featured, but another poet, writer and journalist is Wana Udobang (although Udobang is also a filmmaker). Her fiction and non-fiction have appeared in Brittle Paper and Al jazeera, her poems featured at the British Library's 'Word, Symbol and Song' exhibition and her spoken word album, Dirty Laundry was released in 2013. 

Also featured last month - Adaora Lily Ulasi and Ijeoma Umebinyuo - and on the list is Chika Unigwe (who also really needs no introduction) - author of four novels and several short stories and essays, winner of awards including the 2012 NLNG Priz  and fellowships. Both Suzanne Ushie and Jumoke Verissimo were also featured, but as I get closer to the end of my list of 56 female Nigerian writers, there's romance writer Myne Whitman - author of A Heart to Mend and A Love Rekindled and founder of NaijaStories - a website for aspiring Nigerian writers; as well as travel writer Noo Saro-Wiwa, who published Looking for Transwonderland: Travels in Nigeria in 2012, which was nominated for the Doman Best Travel Book Award in 2012, has been translated into French and Italian, and in 2016 won the Albatros Travel Literature Prize in Italy. A 2015 Miles Morland Foundation Scholarship Winner, Saro-Wiwa aslo contributed to the 2016 anthologies An Unreliable Guide to London and A Country of Refuge. Finally, the last two writers - Molara Wood and Balaraba Ramat Yakubu were featured last month. 

So that's it, 56 Nigerian Women Writers to celebrate 56 years of Nigerian Literature. 56 amazingly talented writers showcasing different genres (travel writing, SFF, romance, historical fiction and more). Obviously, there are more women writers out there, which makes me think I should probably do a follow-up post soon (because why not). And here are ten more to get me started - Catherine Obianuju Acholonu, Karen King Aribisala, Sefi Atta, Ifi Amadiume, Unoma Azuah, Diana Evans, Akachi Ezeigbo, Bilkisu Funtuwa, Chikwenye Ogunyemi and Helen Ovbiagele.
13:39 7 Comments
Today, as I get closer to the end of my celebration of Nigerian women writers, it's all about Nike Campbell-Fatoki.

Photo via Pulse.ng
Writer of the historical-romance fiction, Thread of Gold Beads - which was published in 2012 - Campbell-Fatoki worked for years in International Development, and now currently works for Municipal government in the Washington DC area. In her own words, Thread of Gold Beads:
... chronicles the fictional character Amelia, daughter of the last independent King of Danhome, King Ghebanzin ... [who] searches for her place within the palace amidst conspirators and traitors to the Kingdom. Just when Amelia begins to feel at home in her role as a Princess, a well-kept secret shatters the perfect life she knows ... A struggle between good and evil ensues causing Amelia to leave all that she knows and loves. She must flee Danhome with her brother, to south-western Nigeria. In a faraway land, she finds the love of a new family and God. The well-kept secret thought to have been dead and buried, resurrects with the flash of a thread of gold beads.






The story is set between the late 1890s and early 1990s,  during the French-Dahomey war of Benin Republic, but also takes place in Abeokuta and Lagos in South-Western Nigeria. Indeed, Campbell-Fatoki's maternal great-grandmother fled the Dahomey kingdom in the 1890s to western Nigeria, (similar to Amelia in the book). On why Campbell-Fatoki wrote the book, on one hand she wanted to 'preserve some of this history' through her writing. She however 'didn't go in planning to write historical romance/fiction - something she raised in this interview on Under the Neem Tree:

I was merely drawn to and inspired by the stories I had heard about the last independent Kingdom of Dahomey, the French-Dahomey war told by her grandmother as told by her grandmother and the research that revealed so much history and legacy. I for one didn't know that there existed an army of female warriors in Africa until I did my research. I knew I had to bring that era to life. 

Thread of Gold Beads has also been translated into French and was published August 2015. Nike is also currently working on her next historical fiction novel set in 1800s Abeokuta, Lagos and Freetown. However, Campbell-Fatoki does not only write historical fiction. In her recently published short story collection, Bury Me Come Sunday Afternoon, the lives of contemporary Nigerians (in Nigeria and the diaspora) - is the focus. Or as Campbell-Fatoki explains via an email interview on Nigerian Reporter: 

The stories address societal issues that we experience of witness daily - mental illness, religious fanaticism, child sexual molestation, domestic abuse, to name a few.

Why were these stories for her new collection? Because they 

... focus on social issues that we face daily but do not readily speak about. We are eager to jump on issues of world hunger, free trade, national GDP - macroeconomic issues, but we fail to address the issues that affect us directly, our daily struggles as individuals. I want readers to look into the face of what they fear and call it by name. Only then can we begin to address them and find solutions. 

In a blog post explaining the inspiration behind the collection, Campbell-Fatoki goes into more detail writing that: 

Each story draws from my witnessing what others have gone through or my own experiences. We must peel back the layers, go beyond the surface to understand others and their personal motives. For those that have been misunderstood, those that do not have a voice, those that have been dealth a bad hand, [BMCSA] is also for you.
The draft of the short story Searching for Miss Anderson, for instance, was written 'while in a hospital room watching over my son in January 2015.' And the others: 

'Losing My Religion' draws from my experiences growing up in religious establishments and how if we as people can be led like sheep to the slaughter if we are not careful. 'The Hunchback' was inspired by the community of Makoko in Lagos and what they endured during the 72-hour vacate notice in 2012 when one of the inhabitants was killed. 

Campbell-Fatoki also founded Our Paths to Greatness - celebrating the accomplishments of Africans within and outside the continent. As explained on the website, 

... it provides access to educational and professional opportunities, leadership training to undeserved Africans in Africa and in the diaspora, fosters and facilitates African arts and cultural education and collaborated on sustainable development projects for the African community. 


Definitely also check out Nike Campbell Fatoki's website to find out more, and her blog to follow her musings. 
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With only a few days left of my celebration of Nigerian women writers, today the focus in on writer and broadcaster Chikodili Emelumadu.

Photo via Sub-Q Magazine
On writing and broadcasting, Emelumadu notes in this interview on Geosi Reads that while they both 'revolve around telling stories' ... writing deals with the written word as a method of reaching people while broadcasting is audio/video. Still, for Emelumadu, 'writing is not new' - as she discusses during an interview on Sub-Q:

I've been doing it since I could write words. And before I could write, I was telling stories. Before I could tell them, I thought them and dreamt them and felt them and was them.  

Emelumandu is currently working on a novel about a group of girls on a quest. Although after trying many different formats - plays, poetry, novels and novellas - she notes in her interview on Geosi Reads that she has 'finally "settled" on short stories'. Well, her story, Bush Baby, in African Monsters was one of my favourites in the collection - and this is an entire collection I gushed about. Her works can also be found in a number of publications including: Soup in One Throne, Candy Girl (nominated for a Shirley Jackson Short Fiction Award in 2014) and Soursop in Apex, Jermyn and Pure Water in Eclectica, Tunbi and Bossy Boots in Luna Station Quarterly, The Fixer in Sub-Q, and Story, Story: A Tale of Mothers and Daughters in Omenana. 


Some fun facts about Chikodili Emelumandu: the story Soursop was inspired by something she read from the Nigerian food blogger Kitchen Butterfly:

Well, it was the end of my workday and I was browsing 'the internets' when I decided to check out this blog [Kitchen Butterfly]. This was my second time on the website and I was omery from writing so slowly all day and being frequently interrupted, I just wanted to 'eat' with my eyes, something that I did not create. 
There on the front page was a photo of what she called 'custard apples' but which I knew as 'Sweetsops' from reading another Jamaican blogspot a few years ago. The fruits reminded me of their cousins, 'Sour sops' which we have in Nigeria and which I used to devour with relish. I started to salivate and eureka! The story slammed its way into my taste buds. I think it took about an hour and a half or two hours to write. I was just there.

... she rants about life, Igboness and whatever seizes her fancy, translated Toni Kan's story Cotyledons in the Ankara Press Valentine's Day anthology into Igbo, and has reflected on being 'not just a vagina' and how 'women have been othered beyond comprehension' by some men, making women's 'experiences seem alien':



Definitely do 
check out her blog, where there's also a link to learn commonly used Igbo words.

20:40 No Comments
October is almost over, and so is my month celebrating Nigerian women writers. Today it's all about Mabel Segun - a poet, playwright and writer. 


Image via Facebook
While Mabel Segun has written for both adults and children, in this post I focus on her children's books - as she is said to have written, co-authored and edited around eleven children's books. These include the autobiographies for younger readers My Father's Daughter published in 1965 and My Mother's Daughter published in 1986, as well as Olu and the Broken Statue (1985), The First Corn (1989)  and The Twins and the Tree Spirits (1991/2004). Segun also has published poetry for children, including one she edited with Neville Grant - Under the Mango Tree (1980) - that features poems for all over Africa and the diaspora.




A champion for children's literature in Nigeria, Segun founded the Children's literature Association of Nigeria in 1978 and set up the Children's Documentation and Research Centre in 1990 in Ibadan. In an interview Mabel Segun did with Wale Okediran, Okediran asked Segun 'what's all this fuss about training workshops' with reference to writing for children as it's 'no big deal'. To which Segun responds:


... writing for children is much more difficult than writing for adults. Children at different ages have different interests, different psychological make-ups and different cognitive experiences. You must use simple language and you must never talk down to children.

Image via Preserving the Landscape of Imagination

In addition, Segun's biography includes being a fellow at the International Youth Library in Munich, on the children's books review panel for African Book Publishing Record published in Oxford, an assessor for the Noma Award for Publishing in Africa and a collaborator with the International Board on Books for Young People in Basel. In 2007, Segun's play for children - Readers' Theatre: Twelve Plays for Young People was joint winner of the NLNG Nigeria Prize for Children's Literature. The twelve plays included popular folktales, as well as ones on Nigerian heroes.

Finally, while my celebration focuses on works published since 1960, I had to share this fascinating excerpt from Segun's interview with Wale Okediran on 'who should rightly be called the first published female writer in Nigeria': 


Flora Nwapa is not the first published Nigerian female writer. In 'Nigerian Women in the Arts', Phebaan Itayemi, now Phebean Ogundipe, has this distinction. Her short story, which won a British Council competition in 1946, was published in an anthology ... I am the second Nigerian female to be published abroad. In 1954, twelve years before Heinemann published Flora's first novel, 'Efuru' (1966), three poems were translated into German and published in a German anthology, 'Shwarzer Orpheus'. In 1958, one poem and a short story were similarly published in another German anthology. Before these foreign anthologies were published, I contributed short stories, poems and essays to the Ibadan University College magazine, the 'University Herald' (1950-54). In 1962, I was the only female writer included in 'Reflections' - still before Flora's debut with her novel. In these early days, poetry and short stories were usually published in anthologies. Single author collections were rare.


21:08 No Comments
Today, as part of my celebration of Nigerian women writers, I focus on the first published female Nigerian playwright and Africa's first female Professor of Theatre Arts, 'Zulu Sofola.

Photo via zulusofola.com

In a blog post I found celebrating 'Zulu Sofola, the author writes that Sofola 'was perhaps, the most important female playwright in Africa during her time'. Particularly in 


... a male-dominated world where the voice of women seemed unheard and under-appreciated, 'Zulu Sofola stepped forward and distinguished herself as a literary icon and an excellent dramatist.

Sofola's plays were diverse and could feature tragedy, satire, myths or crime (to name a some). As noted by Abiodun Abe (a director of a number of Sofola's plays and Technical Director of Nigeria's National Theatre) in the aforementioned blog post, her plays:

... are largely traditional and instructive and they tell tales of love and royalty through tragedies and the various experiences of human life in such a way that readers and audience alike are both entertained and informed in one scenario or the other.
In her own words via In Their Own Voices: African Women Writers Talk, Sofola shares what motivates her writing:

I am motivated by human problems that confront us all. It depends on the spirit of a problem before i get the kind of inspiration which makes me want to write about it. Then I do my research.
And via Womanism and African Consciousness, we get what Sofola says she questions through her writing 
... most of my writing questions the 'isms' that have been superimposed on the African people.
Some cool facts on Profoessor Sofola: her works include 17 plays, 15 published plays, along with other manuscripts discovered at the time of her death. These include Wedlock of the Gods (1972), King Emene: Tragedy of a Rebellion (1974), The Sweet Trap (1974), Old Wines are Tasty (1979) and  Memories in the Moonlight (1986). And the first play Sofola produced and publlished was The Disturbed Peace of Christmas - staged first at Yejide Girls' Grammar School in Ibadan, and then published by Daystar Press (also in Ibadan).



Covers via zulusofola.com 

Even more cool facts, in an interview with Adeola James, Sofola notes how music got her into writing:


... music was my original interest. But when I was studying in the United States, I had to select another subject in addition to my main line. That was what landed me in drama. But I found that in dram I was also in music because I could produce plays with a musical background and I could use music for the mood. So it was through music that I got into writing.
Sofola's last play -  Queen Omu-Ako of Oligbo - was written and produced while she was a Fulbright Scholar in the Sates. A historical play about the Nigerian civil war, as explained in this article on Aidoo's feminism and Sofola's de-womanisation 

[Sofola] shows how the dual-sex system of government functions with an Omu, the leader of women controlling the female are of the government. Being the granddaughter of an Omu, Sofola uses the leadership role of the Queen to debunk notions of female powerlessness and passivity propagated by European culture.
Find out more about 'Zulu Sofola and her works on her official website, and here are some posters and stills of scenes of Sofola's plays.


Virgo Foundations production in London in 2011. Image via wailacaan.com
Still from the performance of Wedlock of the Gods  in London via afridiziak.com


Chi Ife Productions in  Atlanta in 2013. Image via zulusofola.com

Still from performance of Wedlock of the Gods in Atlanta. Image via broadwayworld.com

Mosaic Theatre Production in Lagos in 2014. Image via lindaikeji


18:01 No Comments
This month I am celebrating Nigerian women writers, and up next is Kiru Taye - who writes romance and erotica stories. And whether they are historical, paranormal or contemporary, they are said to always be sensual and passionate. 

Photo via blackandoutspoken
With over 12 books, fan-fiction erotica and (I think) 5 series, Taye's works include the historical romance series, Men of Valor, set in pre-colonial West Africa. When asked by Myne Whitman why she writes historical romance, Kiru Taye explains how she: 

... wanted to write stories that showcased African heritage and culture positively. There are several misconceptions about African before colonisation. One such is that love and romance didn't exist in Africa until the colonials dropped by and taught us. This is totally wrong. Love and romance have always existed in Africa, although expressed in different ways ... So I wanted to write stories that showed Africans falling in love with a historical context while still dealing with other cultural issues that might impact relationships.

Taye further stresses on This is Africa how important it is to write about how 'West Africa  ... was rich and diverse with kingdoms like Nri, Benin, Oyo, Ashanti, Aro, Nok', and 'redress[ing] the imbalance and showcase our beautiful heritage through [her] historical romances. 

A look at some of Kiru Taye's works via her website.

Taye also writes about sex in her work - as she particularly enjoys 'romance novels which include sex scenes', and as she explains in this interview with Adura Ojo, she is:

... unapologetic about what [she] read[s] or write[s] and really owe no one any explanation. There are loads of young women (and men) that get into relationships or marriages without fully understanding what healthy and pleasurable sex feels like. I hope to educate and entertain them at the same time. Nigerians have sex. So why is talking or writing about sex a taboo?
Plus if you do want to write a sensual, passionate sex scene here's 'lesson number 1' courtesy of Kiru Taye: 

Do not be a prick tease ... You either write it fully or you exclude it all together. Don't tease the reader by getting characters frisky and practically through fore-play and then chickening out by slamming the door on the actual consummation.

Kiru Taye is also a founding member of Romance Writers of West Africa and a 2015 Romance Writer of the Year at the Nigerian Writers Award. Although I mentioned earlier she has 5 series, it seems there might be a 6th one soon to be added to her collection - Outcast, a paranormal romance set in Ancient Africa and part one of the Sacred Amulet. What's it about, you ask. Well according to the blurb: 

Ugo'ji is an outcast, an untouchable. She lives on the fringe of society as the lowest of the low, a living sacrifice to the gods. The only person she interacts with is her aged grandmother Nne who nurtures her powerful gift of healing. Until the day she meets Ebube, a strange warrior to their lands. He ignites a yearning within her she's unable to ignore. 
Ebube is drawn to the young maiden with the emerald green eyes who possesses the body of a goddess and the healing touch of an angel. But he is forbidden from mating with a human and the consequence is the wrath of the gods.  
Moreover he is on a mission. If he fails, the gates of hell will be opened and the earth plunged into darkness. He cannot stay and she cannot go with him.  

I am actually intrigued. And you can find out more about Kiru Taye, part one of the Sacred Amulet and her other romance series on her website. PS. Here's a teeny excerpt via Kiru Taye's website.



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Founded in 2011, bookshy represents two things: the young me who was so shy I escaped through books, and the older me whose shelf is always one book shy of being full.

bookshy is a space where I celebrate, promote and recognise contemporary African literature - although sometimes I go back in time to commemorate the greats. It is about the books I love, the books I have read and the books that I am dying to read.

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