Writing

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.

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.

Shaun Randol

In yet another stellar issue of World Literature Today (May/June 2012), the dastardly practice of censorship of literature and writers in general was given due attention.

Vicente Garcia Groyon

It is a truth universally acknowledged (at least in creative writing classes) that a writer in search of a good story must first invent a lifelike, interesting character. The commonly held wisdom is that once such a character has been imagined, the story then shapes itself, dependent on the character’s desires and decisions.

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.

Vicente Garcia Groyon

Kei Miller’s second novel, The Last Warner Woman (published in 2010 but released in the United States earlier this year) seems to strike up a dialogue with his first novel

Arie Amaya-Akkermans

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.

Emmanuel Iduma

Perhaps it’s her career in advertising that makes Suzanne a professional. I mean the practiced ease with which she responded to my questions, which although we corresponded via email, I could feel. And I am humbled by how someone with so much talent can be undemanding, moderately ambitious, as though the estimate of the literary world counts less than her estimate of her craft. There are a handful of Suzanne’s stories out there, but each story differs in range of vision, in outlook. Easily, we find a writer in search of something other than fame, something deeper, more human.

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