“There’s a manner in which an average Nigerian tells a story, which reflects in the writing and is distinct. We are natural storytellers; we love to tell stories, we love to talk, and we talk big” – Olubunmi Familoni
By Michael Kolawole
Nigerian authors have been making remarkable strides on the global literary stage, capturing the attention of readers worldwide and winning numerous prestigious awards. Their success is evident not only in international recognition but also through opportunities like writing residencies, major publishing deals, and nominations for awards such as the Booker Prize and the Pulitzer Prize.
Writers like Chimamanda Ngozi Adichie and Ayobami Adebayo, Abubakar Adam Ibrahim, and many others, who have achieved acclaim for their bold storytelling, continue to pave the way, inspiring a new generation of Nigerian authors who are deeply engaging with Nigerian history, culture, and the nation’s social issues.
Among the most prestigious literary awards in Africa is the Nigeria Prize for Literature, often celebrated as a cornerstone of African literature. Sponsored by Nigeria LNG Limited, this award, with a grand prize of $100,000, honours Nigerian writers who excel in genres including prose fiction, poetry, drama, and children’s literature.
The prize’s impact is far-reaching, not only amplifying the profiles of its winners but also helping to foster an exciting literary culture in Nigeria, encouraging critical thought and creative expression.
With this backdrop, Olubunmi Familoni, one of Nigeria’s literary voices, joins us to discuss his gripping children’s novel, The Road Does Not End, which claimed the coveted 2024 Nigeria Prize for Literature. This tale of child labour, resilience, and human connection has connected with readers of all ages.
In this intimate conversation with Afrocritik, Familoni reveals the inspiration behind his award-winning book, sharing personal experiences and literary influences that shaped his writing. From the challenges of crafting engaging stories for younger audiences to the impact of literature on social issues, Familoni offers insightful reflections on his craft.
Congratulations on winning the 2024 Nigeria Prize for Literature! How did it feel when your book, The Road Does Not End, was announced as the winner?
Thank you. I’d say it is a cross between surrealism and exhilaration.
What inspired the central theme of child labour in The Road Does Not End? Was there a particular event or story that motivated you to write this book?
Not one particular event, but having lived in neighbourhoods in large urban centres where there have been considerable numbers of out-of-school children engaged in street hawking and busking, one feels a certain sense of responsibility to tell the stories of these children, often misrepresented in literature as merely ‘urchins’ or ‘street kids’, from their perspective.
Your book touches on resilience and human connection. Why were these themes important for you to explore in a work aimed at younger readers?
Just as much as it is important to show resilience in the face of numerous daunting adversities as an adult, it is just as important that the young ones are also taught from an early age that resilience is something that they would benefit greatly from as they grow older.
So, they must learn it early, especially since if you give up early, in your younger years, it is most unlikely that you will succeed as an adult or even learn resilience then. Besides, such a lesson becomes even more imperative to impart at an early stage in a society like ours with the wide range of vicissitudes, from economic to social to physical, that one has to contend with.
You mentioned that books your mother bought you as a child shaped your path as a writer. Can you share some of the books that influenced you the most?
There were so many books, but I would say that I was influenced the most by the storytelling of S.M.O Aka; it was lively, vivid, relatable, simple, and accessible. I was also greatly influenced by Mark Twain’s Huckleberry Finn and Tom Sawyer stories.
Children’s literature is a unique genre. What challenges did you face while writing for a younger audience, and how did you overcome them?
I think the major challenge, especially for someone who has mostly written for adults, is making sure that the language is accessible and the story is as engaging as possible to keep young readers interested while striving to strike a balance in literary quality; overcoming that ‘challenge’ didn’t pose too much trouble, as I had read children’s literature extensively in the past.
The Road Does Not End was praised for its literary excellence and societal impact. What do you hope readers, particularly children, take away from your book?
As had been mentioned earlier, the important value of perseverance, soldering on through challenges, and the benefits of friendship.
Could you tell us more about your writing process for the book? How long did it take to complete The Road Does Not End, and what were some of the biggest obstacles along the way?
It was pretty much the same process as writing any other story: the process of conceptualisation, plotting the tale out, and then the actual writing of the story. The writing took me about two weeks since most of the work had been done in those two early stages.
What role do you think literature plays in addressing social issues such as child labour in Nigeria and globally?
I think the most it does is contribute to the growing consciousness about the issue(s), in a way that is more creative and entertaining than media reports.
Winning such a prestigious award often comes with new opportunities and expectations. How do you see your career evolving after this milestone?
It’s left to be laboured. I’m just as curious to see how it does.
Many Nigerian writers are gaining international recognition. What do you think makes Nigerian literature stand out on the global stage?
The way we tell our stories: there’s a manner in which an average Nigerian tells a story, which reflects in the writing and is distinct. We are natural storytellers; we love to tell stories, we love to talk, and we talk big.
Who are some of your literary influences, both from Nigeria and abroad, and how have they shaped your writing?
My major early literary influences (i.e. when I began to take my writing a lot more seriously), for a very long time, for prose, were the great American legends, John Steinbeck and John Updike.
Their influences can be perceived in the attention I pay to how a single sentence is crafted and how it functions, with turns of phrase that act as lubrication, as a cog in the wheel of the story as it moves along; how one labour over the design of a sentence to achieve the best possible description that is neither florid nor flavourless.
Another major influence was Wame Molefhe, a Botswanan writer who is one of the most impressive writers of short fiction that I have ever encountered. Her writing shaped the way I viewed short stories and how I write in so many ways. For drama, it has been Oscar Wilde for as long as I can remember. From Nigeria, Igoni Barrett and Ola Rotimi have been a big influence on short fiction and drama.
The Nigeria Prize for Literature rotates among different genres. You submitted a drama for the previous edition. Would you ever consider writing in another genre, like poetry?
Hmm… I don’t think so.
What impact do you think awards like the Nigeria Prize for Literature have on the growth and visibility of African literature?
They amplify the voices of the writers, expanding the ever-growing pool of literature coming out of the country.
Looking back on your literary journey, what advice would you give to aspiring Nigerian writers, especially those interested in children’s literature?
Don’t be in a rush to start writing or to become a writer. Read a lot. Pay attention to details when you read. Observe the environment around you, listen to conversations, and participate in conversations. Watch films. Live.
Now that The Road Does Not End has won this major prize, are there plans to expand its reach, perhaps through translations or adaptations for other media?
Possibly an animated adaptation. Fingers crossed.
Michael Kolawole is a screenwriter, poet, playwright, and cultural journalist/critic.