J. K. Fowler

On the 13th of January, 2013 at the Cloister Cafe in New York City, I had the opportunity to speak with Simona Maicanescu, star of the one-woman adaptation of Wallace Shawn's The Fever opening on January 24th at LaMama's first-floor theatre.

Jika González
Shaun Randol

Arie Amaya-Akkermans

Lebanon lies at the intersection of ancient and contemporary influences, of Western and Eastern thought, and of the artistic and the critical. How is an artist to find herself in such a whirlwind of persuasions? And what might the resulting art portray? Arie Amaya-Akkermans explores the world of Lebanese painter Mouna Bassili Sehnaoui.

Emmanuel Iduma

I have interacted with Dami Ajayi more than any other writer in this series; easily he was the choice for the final conversation. I have lived with Dami, shared books with him, written about him, dreamt with him, fought literary wars with him; together we have co-founded a literary magazine, organized workshops, readings, etc etc. He's kin, as well as colleague. So readers will notice how we easily lapsed into ourselves in the following conversation, referring to subjects and experiences that  is peculiar to our shared moments.

Emmanuel Iduma

Ayodele is one of the most consistent Nigerian writers of the last half-decade. She’s the oldest writer in the Gambit series, although I wouldn’t want to ask her if she’s comfortable being grouped with younger colleagues. I figure that question would be answered with a wave of her hand; Ayodele gives the impression that even the most obvious of borders doesn’t exist. Meeting her in person, I was drawn to her infinite knowledge about everyone and everything in the literary world.

Corrie Hulse

Emmanuel Iduma

I first found Abdul’s name on African Writing, I think. I was then searching for writers to include in this project, writers who were, should I say, "within reach." Indeed, Abdul was. This conversation demonstrates, in an interesting way, how his creativity seems bared, in an open-ended way, so that it seems possible to discover the extent of his nuances.

Emmanuel Iduma

It is best that Richard speaks for himself, that I present this conversation without remarks. For suddenly, in need of an introductory note, I find that I have none, and that Richard’s responses sparks of completeness. In fact, I had no reason to respond to his first responses – perhaps silenced by the lengthiness and profundity of each response.

Emmanuel Iduma

We began with an oral conversation, recorded with my phone, in her sitting room, since we happened to be in Ile-Ife together at the moment. A conversation that cannot be made public, at least for now, for the simple fact that we were so self-aware, so within the cocoon of our ‘literary ties.’ When I used those wordsliterary tiesAyobami had a good laugh; earlier I had mentioned that I couldn’t extricate our friendship from our creative comradeship. This friendship, which has now spanned close to five years, began simply, when I asked her if she writes.