Conversation With a Nigerian Female Author
Conversation With a Nigerian Female Author
I have something interesting to share with you. I do look forward to doing so for a few more weeks with some of the most interesting minds I came across during our recent convention.
I very rarely attend conventions as there seemed to be more politics attached to the hosting than the event itself, but I felt this was different. It was going to be a gathering of creative minds and I looked forward to the event.
Happily, for me, the author I had threatened to scalp for his less than admirable portrayal of womanhood did not attend. So I enjoyed myself and tried to ask a few questions around. It was like feeling my way around.
The attendance was in the hundreds and there was some sort of mini book fair as publishers came to display the books of their authors.
In the package given to us was a collection of poetry and I came across a very interesting piece. Intrigued, I went looking for the poet and it turned out she is a very beautiful young woman.
Okay, I mean young in the understanding that she is much younger than me. You know age envies youth blah…blah… Anyway, I got into a conversation with her and I would like to share it.
Please tell us a bit about yourself
My name is Oluchi J. IGILI. I’m a female Nigerian author and a dramatist both by training and engagement. I’m currently a university teacher where my duties include instructing students both in the theory and practice of drama/theatre. I ventured, if you like, into writing because I find it as a veritable window of opportunity to express myself, my thoughts, and my concerns about the world in which I live.
In this regard, I share my thoughts through poetry, drama, and prose fiction.
Nigerian authors seem to be very much in the background as far as international awareness is concerned, is that a true assessment?
To say anything about one’s country except that which paints her in glowing colours would, ordinarily, be politically incorrect. But I think it is patriotic to admit that Nigerian authors are lagging behind in terms of awareness of what is going on the international scene. To a very large extent, only Nigerian authors in the Diaspora have a good grasp of what obtains on the international front, and in consequence, they enjoy a lot of international recognition.
That is not to say that Nigerian authors living within the country cannot hold their own in terms of their creative prowess. What it simply means is that the writers in Diaspora are privileged to be to enjoy many opportunities not yet available to Nigerian authors living and writing in the country.
Your poem is striking as it suggests a deeper level of human experience. What genre of writing do you subscribe to?
I engage in any form of creative writing (poetry, drama, or prose) that enables me to give expression to my innermost concerns for my society. Another way to put it is to say that I subscribe to any literary genre that has a clearly discernible commitment to issues that affect humanity.
Without any equivocation whatsoever, I belong to that school of thought that says, art, whether it is literary art or any other form of art, should be placed at the service of humanity. Art should not be an architectural masterpiece that lacks utilitarian value. Art for art’s sake? Not for me.
At the recently concluded convention of the association of Nigerian authors, there was a move to bring the female authors together, what do you think informed such a drive?
Yes, I am aware of that move to bring Nigerian female authors together. Nigerian female writers are making the effort to come together under one umbrella or the other. One of such platforms is the Association of Nigerian Female Authors (ANFA) among others. The reason for this, I believe, is not far-fetched. The female Nigerian writer needs to be more visible and the best way to achieve this is to have a platform from which to seek both to be seen and heard.
As much as I know that some of our male counterparts are sympathetic enough (I use that word deliberately), one can also understand that they are not too prepared to yield much space to the female writer. So, there is a need for Nigerian female writers to come together and create a strong visible image for themselves. If we fail to blow our trumpets, as they say, we should not expect anybody to do that for us. And the time to do that is now.
As a published author, what has been your experience?
There are a number of challenges that I believe are common to writers in my clime. There is the problem of a continuously dwindling reading culture which has been worsened in recent years by a barrage of technological devices that have made reading very unappealing. Whereas in the past people spent their leisure time reading, technological devices have provided ready alternatives that are a lot less intellectually tasking.
It does not take much intellectual muscle to sit down in front of a TV screen to watch a movie or soap. Another issue that published authors have to grapple with here is piracy which has made writing to be a non-lucrative enterprise.
Tell us about your published book and how we can get a copy
My most recent literary outputs are a short story in Tales From the Sun and poems in One Poem, Fifty Seasons: A Collection of Poems in Honour of Sola Owonibi and they are available in leading bookshops. A collection of short stories is right now in the quarry.
Share a typical day with us
My typical day is basically the same as that of any serious-minded wife, mother, public servant, responsible citizen, and committed Christian, all rolled into one, who must also find time to put pen to paper and give vent to the creative impulse.
What do you see as the Nigerian literary scene?
The Nigerian literary scene has a lot of issues/problems to contend with. It seems to me that there are too many ‘writers’ who should have no business writing. In short, there are too many sub-standard, poorly written works on the Nigerian literary scene. That is not to say that there are no good books anymore but the not-too-good ones have become rather commonplace. Self-publishing is another monster on the Nigerian literary scene.
Many Nigerian writers do not see why they should submit their manuscripts to established publishing houses for thorough vetting. On the other hand, well-known publishing houses also have the reputation of ripping off writers particularly upcoming writers. These are some of the problems the Nigerian literary scene is contending with.
I have had to convert my English from my Nigerian roots to what my publisher says will be an internationally accepted format, have had such an experience?
Nigerian writers are no doubt faced with the challenge of writing a ‘brand’ of English language that must of necessity retain the flavour and nuances of native Nigerian languages in which they think and from which they draw their thoughts and passing the same across in an acceptable format to international readers.
So the challenge is about how to strike a balance between reaching the Nigerian reader for whom the Nigerian writer writes primarily and at the same time achieving international acceptability. This is not a particularly easy line to toe.
Talk to us about our reading culture and predict what may be possible in the next five years.
The reading culture of the average Nigerian is whittling daily, no thanks to technology such as television, telephone, and other social media. Except for something definite is done deliberately and urgently, the future is really bleak in this regard.
Finally what lessons or insights did the recently concluded convention offer you as an author?
One take-home for me from the recently concluded convention of the Association of Nigeria Authors is the undeniable role of the literary artist in nation-building. As noted by the keynote speaker, Prof. Toyin Falola, creative writers must connect text and imagination with policies and politics. In other words, the Nigerian creative writer must be actively involved in nation-building because he has a lot to offer. This again tells us that art for art’s sake has no place in the Nigerian cum African literary landscape.
Thank you for chatting with us
Thank you for sparing time for this interaction.