Woolf told us to arrange whatever pieces come our way. Not to wait for the right circumstances or the market to want what you have.

Plot-wise, it was well thought out. No unnecessary gaps, the central theme was clear from the jump. Oyinkan builds tension steadily.

For a collection of short stories, Niq Mhlongo manages to give his characters depth in a few pages/sentences.

Way before Netflix and Prime, there were these. Blurry on late-night cable. Perfect on a stormy day. Plots that had you dreaming of love in ways that were maybe a little unrealistic.

In places where officials would rather not have things written down, fiction stands in as a witness. It gives names to what’s usually left unspoken.

Africa is a vast continent, not a single country. The old habit of treating the whole continent as a single cultural monolith creeps in, even when the intention is celebration.

And perhaps one day, a girl’s first encounter with patriarchy will not come in a wrapper and gele. Hopefully, it will not come at all.

We didn’t just read books. We grew up inside them. And every now and then, when we open one again, we recognise ourselves right where we left off.

If everyone minded their business, sadly, many Nigerian novels would end by chapter three. Peace, unfortunately, does not move the plot.

This concerns gender as representation, role, and social meaning, and how societies organised people prior to colonial disruption. 

Today, the Yoruba Demon is not merely a meme born from online banter. He has become a recurring, sometimes overused, fixture in contemporary Nigerian storytelling. His presence reflects Nollywood’s on...

Contemporary African literature distinguishes itself by reclaiming both the right to tell African stories and to define their terms.