- If you’ve ever read Damilare Kuku’s novel “Nearly All The Men in Lagos Are Mad” or Lola Shoneyin’s novel “The Secret Lives of Segi’s Wives,” I bet you can relate with me
By Bankole Taiwo James
At some point in a time, when Africa literary space was just evolving, whenever the words Nigerian or African literature are spoken of, whether by a secondary school student in the urban city of Lagos or by a college student walking down one of the dusty streets in the north, or by foreigners who have never set their foots on the soil of Africa, it is never in doubt that three writers would be mentioned: Chinua Achebe, Wole Soyinka and Ngũgĩ wa Thiong’o.
As a reader who proudly represents the new wave of African readers, it’s fascinating to witness how contemporary African storytelling has evolved from the days when Chinua Achebe and Wole Soyinka dominated the literary scene. Back then, African literature was like a serious dinner party with philosophical discussions and heavy themes about colonialism, slavery, identity, and governance. But today, it’s more like a lively family reunion with a mix of laughter, gossip, and some cheeky commentary on modern life.
If you’ve ever read Damilare Kuku’s novel “Nearly All The Men in Lagos Are Mad” or Lola Shoneyin’s novel “The Secret Lives of Segi’s Wives,” I bet you can relate with me.
“Most times, with books by the recent generations for examples like Adesuwa, Damilare Kuku and Fatimah Bala, when you’re reading those books, you don’t feel like you’re reading school books, maybe that is another reason why the books written by the older generations felt like school books because they recommended them to us in school for literature studies, but most of these books, the tone of writing and everything is different.
It feels like you’re interacting with the audience, with the characters in the book. It feels like you’re communicating with them. “It feels like ahh I can feel what this person is writing and the choice of words has evolved seriously and is very relatable,” Amigun Deborah said during an interview with her.
No offense intended, but in all honesty, Achebe and Soyinka’s works were more like a high-stakes drama series-intense, thought-provoking, and with an emotional depth that left you contemplating for days. Their literature delves deep into the wounds inflicted by colonialism, narratives that forced the readers to confront the pain and struggles of their era.
But today’s African authors, however, are starting to shift the gears to a genre that might be best described as “Postcolonial Meets Postmodern.” Imagine a narrative where the protagonist is not only battling the ghosts of colonial past but also figuring out how to navigate the maze of Instagram fame, all while trying to avoid the perils of bad Wi-Fi. It’s like a blend of Achebe’s seriousness with a dash of Soyinka’s wit, coupled with a contemporary twist.
Gone are the days when African literature was dominated by the tragic hero grappling with existential crises. Today’s protagonists are more likely to be relatable antiheroes-people who might not save the world but are trying to navigate through the chaos of daily life. Think of it as the difference between an epic, tragic Shakespearean play and a Netflix comedy series. Characters are now dealing with everything from the perils of dating apps to the struggles of balancing a 9-to-5 job with a side hustle as a social media influencer.
It’s less about grand historical narratives and more about the everyday hustle of modern life. Read “The List” by Yomi Adegoke, then you might understand what I am saying.
Writers such as Chimamanda Ngozi Adichie, NoViolet Bulawayo, Ayòbámi Adébáyò, Chigozie Obioma, and Jennifer Nansubuga Makumbi, among others, have garnered international acclaim for their works. These authors, alongside a host of emerging writers like Damilare Kuku, Aiwanose Odafen, Pemi Aguda, Michael Afenfia, Lola Akinmade, Chioma Okereke from across the continent, represent a shift towards a more diverse narratives that move beyond the traditional focus on colonialism and its aftermath.
Achebe and Soyinka’s works might have left you deep in thought with a side of melancholy, but today’s writers are adept at marrying humor to address serious issues.
It’s not unusual to find a novel that makes you laugh out loud one moment and pause for profound reflection the next. It’s like having your cake and eating it too, but with the cake being a witty commentary on the absurdities of modern life.
“To be very honest, I feel like books from the earlier generation of Wole Soyinka and Chinua Achebe, the only reason why we don’t necessarily gravitate towards them even though we enjoyed them was because they were not written in our generation. For example, our parents like reading those books because those were in their generation and they are very relatable. “But for us, we are like opps. What’s that, it sounds ancient, not genz,” Amigun Deborah shared with me.
As a matter of fact, even LGBTQ+ issues, which were once considered taboo in many African cultures, are also finding expression in the works of new African writers. For example, the Nigerian author Tayo Aina and Chinelo Okparanta’s novel “Under the Udala Trees” delves into the complexities of same-sex love in a society where homosexuality is criminalized. I strongly believe that through such stories, writers are contributing to a growing discourse on sexual rights and freedom in Africa, challenging both societal norms and legal frameworks.
But seriously, what’s behind this resurgence in the emergence of new African writers? Why are African novels now making waves in bookstores from Lagos to London and beyond, and the wide readership?
In Damilare Kuku’s opinion, she shared with me that “Africans sell very interesting stories. We are a continent of stories, amazing stories and Africans can never run out of stories. With all the things that happen every day, I think with that, we have international eye on us, international readers supporting us.
“Let be clear that the first base of readers are Nigerians because they’re the ones who decide, and Nigerians all over the world reading our books have brought so much interest in us and then of course when Nigerians read all these, they drive attention from all over the world. In Africa, we are just a continent of stories.”
Take writers like Chimamanda Ngozi Adichie, Oyinkan Braithwaite, and Chigozie Obioma. They’ve brought us tales of Nigerian feminism, sibling rivalry with a dash of murder, and epic family sagas that would make even Shakespeare jealous. It’s no wonder that African novels are now being read by people who, a decade ago, might have struggled to pronounce “Nsukka.”
These emerging new African writers aren’t just offering traditional narratives that romanticize African life. They’re dishing out stories about everyday Africans dealing with modern issues: finding love on Instagram, navigating toxic workplaces, or trying to convince their aunties that not every unmarried woman is doomed.
“I think social media plays a very key role in literature right now in the sense that people can kind of go online, Tik-tok, Book-tok and all of those spaces sort of brings new books to surface and helps to discover writers and all of that,” Damilare Kuku stated further.
Go on Instagram and Twitter, where hashtags like #ReadAfrican, #BookstagramAfrica, and #BlackLiterature has brought African stories to readers’ fingertips. Book influencers and digital creators (like our very own Bankole Taiwo James) have taken it upon themselves to shout from the rooftops about African novels that are not just worth reading- they’re must-reads. Authors like Chimamanda Ngozi Adichie, Nnedi Okorafor, and Tsitsi Dangarembga have now become household names on social media platforms.
In addition to social media, the rise of e-books and digital publishing platforms like Amazon Kindle, OkadaBooks (a Nigerian digital publishing platform), Lulu, Brittle Paper, Masobe Book, Open Book, and Smashwords has made it easier for African writers to publish and distribute their works globally.
“I would say for a fact that either you’re traditionally published or self-published, it doesn’t take away from your story. You’ve told a story and it’s out there in the world regardless of however means it went, and there’s nothing wrong with taking charge of how your story is told, when is told, who tells it, whichever I think self-publishing is actually, and which I think has given writers and readers a lot of accessibility.
“But also with these digital platforms, a lot of people do piracy, like “Only Big Bumbum Matters Tomorrow” has been pirated already which is kind of sad because people put in a lot of work into their book and the least you can do is to buy their book…,” Damilare Kuku stated further.
The result of an online WhatsApp poll I conducted some days ago:
From “Half of a Yellow Sun” to “Queen Sono” and “Blood Sisters,” African narratives are now part of binge-watching culture. And once people see a captivating show based on a novel, guess what? They buy the book! But hey! Who would’ve thought that one day, a streaming giant could play a role in bringing African novels to the forefront?
But guess what? Here we are, with African stories being adapted into films and TV series, bringing African authors to global fame faster than a Nollywood plot twist. Just around early this year, Yomi Adegoke’s “The List” was approved for a movie adaptation.
In Chinua Achebe’s “Things Fall Apart”, and Wole Soyinka’s plays such as “Death and the King’s Horseman”, when we look closely at their works, you noticed that almost the majority focus on the theme of colonialism in traditional African societies. A form of narrative style that is deeply rooted in the clash between indigenous cultures and colonial forces.
However, let give credit to the new wave of writer and works such as Chimamanda Ngozi Adichie (Americanah), NoViolet Bulawayo (We Need New Names), Ayòbámi Adébáyò (Stay With Me) and Tsitsi Dangarembga (This Mournable Body), whose works have helped in changing the thematic narrative style of African literatures from the sad boring topics on slavery and colonialism to a more spectrum of contemporary concerns, while blending elements of speculative fiction, magical realism, and memoir to create innovative narratives.
I’d like to also point out the factor of Afrofuturism, a blend of science fiction, fantasy, and African cultural elements. And this where I give credit to authors like Nnedi Okorafor, with her works such as “Binti” and “Who Fears Death,” and Wole Talabi, with his work on “Shigidi and The Brass Head of Obalufon” because these works are pioneering this genre, envisioning alternative futures rooted in African traditions.
How do I see the future of African literature?
To be very honest, if someone had told me a decade ago that African literature would soon be so hip, I would have raised an eyebrow, smirked, and carried on devouring Achebe’s Things Fall Apart because obviously, African literature was more about depth than swag. From Chinua Achebe’s Nigeria to Ngũgĩ wa Thiong’o’s Kenya, our stories have never lacked.
But for so long, we’ve been hidden in the shadows of western literary giants, waiting for someone to turn on the light. Well, let’s say someone has finally flipped the switch!Maybe it was Chimamanda Ngozi, or Jennifer Makumbi, or Yejide Kilanko, but it wasn’t just any switch – it was a spotlight.
“Ask me this question in another five or six years after I have published more books, then I can kind of give you my opinion. I do think with change, the world has their eye on us now in terms of literature, in terms of Art, in terms of music, in terms of football and I do think what it is that we would only get better. We would always strive to be better and we would do our best to show up and do better than who we were before, especially when we are on stage that is tested globally…,” Damilare Kuku shares.
Oh, dear reader, that’s Damilare Kuku’s opinion, but as for me, I believe that the future of African Literature is going to be electric, flamboyant, and it would defy the law of gravity like Asake’s soaring career. it is not just going to be about the content, but the ever-expanding audience that devours these stories.
@SaharaReporters