Yinka Olatunbosun
The CORA-NLNG Prize for Literature Book Party 2025 was a revealing moment for many in attendance, as 11 authors on the longlist shared personal stories behind their works in a lively, celebratory atmosphere.
This event, which took place on Sunday, August 3, at the Lagos Continental Hotel, Victoria Island, Lagos is a staple in the arts calendar and serves as a precursor to the announcement of the shortlist and winner later in the year.
The Nigeria Prize for Literature, a prestigious literary award, was established in 2004 by the Nigeria Liquefied Natural Gas Limited (NLNG) to promote literary excellence, improve writing, editing, and publishing in Nigeria, and contribute to the country’s cultural development. The prize rotates among four genres: Prose Fiction, Poetry, Drama, and Children’s Literature. This year’s edition focuses on Prose Fiction, with a judging panel comprising Dr. Saeedat Bola Aliyu (Chairperson), Professor Mbanefo Ogene, Olakunle Kasumu, and Dr. Grace Musila (International Consultant).
Some notable authors on the longlist include Abubakar Adam Ibrahim for ‘When We Were Fireflies’, Ayo Oyeku for ‘Petrichor: The Scent of a New Beginning’, Chigozie Obioma for ‘The Road to the Country’, and Chika Unigwe for ‘The Middle Daughter’.
Others are Yewande Omotosho for ‘An Unusual Grief’, Linda Masi for ‘Fine Dreams’, Michael Afenfia for ‘Leave My Bones in Saskatoon’, Uwem Akpan for ‘New York and My Village’, Oyin Olugbile for ‘Sanya’, Nikky May for ‘This Motherless Land’, and Chioma Okereke for ‘Water Baby’.
Hence, the Book Party marked the first stage of public engagement with the selected writers, providing a platform for critical discussion and analysis of their works. The shutters to individual writers’ works were flung open as each writer vied for the whopping sum of $100,000.
Afenfia’s interest in writing his longlisted book is rooted in an unconventional dating experience that involved a visit to a grave. He discovered graves of young and old, which ignited the themes of borders, identity, and humanity in his prose. For Uwem Akpan, retelling the Biafran story in ‘New York and My Village’ was more than a duty; it was a call to acknowledge the plight of minorities in Nigeria and to emphasise the importance of inclusivity in nation-building.
Ayo Oyeku’s writing was inspired by a personal tale of justice. As an undergraduate, he witnessed firsthand the shooting of a student protester standing next to him by a riot policeman, which escalated into a battle for justice through a series of events that ensued. Nikky May’s work, meanwhile, explores themes of prejudice and privilege, drawing from her experiences as a British-Nigerian writer who has navigated both Nigerian and UK cultures. For Oyin Olugbile, ‘Sanya’ is a product of extensive research and a journey of self-discovery. Chioma Okereke’s ‘Water Baby’ reflects her preoccupation with the underserved community of Makoko, Lagos, while Abubakar Adam Ibrahim’s work interrogates the dynamics of love and hate, particularly in the context of violence in different parts of Nigeria, especially the Northern areas.
In his opening remarks, the Secretary-General of the Committee for Relevant Art (CORA), Toyin Akinosho, highlighted the challenges faced by Nigerian writers and how, despite these, they continue to produce some of Africa’s best storytelling. “This year’s competition is perhaps the most fiercely contested Nigeria Prize for Literature in the Prize’s 22-year history,” he observed. “These novels, written by authors from all corners of Nigeria, present fictional accounts that take us on different journeys into the Nigerian heartland. We witness a Nigerian family dispute in South Africa; the stories explore the anxieties of a studious teenager who becomes pregnant in Eastern Nigeria. We engage with the frustrations of a visa applicant whose request is denied due to his minority status.”
He also gave a preview of other works on the longlist, highlighting the social realities explored in the writers’ minds. “You’ll read about the adventures of a visual artist painting old railway facilities in the middle of the country. There are narratives of a simpler, more innocent period in what have become our chaotic, overpopulated cities, as well as social inquiries into today’s youth angst against repressive authorities.”
In her concluding remarks, the Manager of Corporate Communications and Public Affairs at Nigeria LNG, Anne-Marie Palmer-Ikuku, commended the stakeholders in the literary sector, especially CORA, for its long-standing collaboration with the energy company to ensure that literary talents are rewarded and nurtured. “To our writers, I leave you with this: keep daring to dream, keep honing your craft, and keep telling our stories in ways that resonate across the globe. To our readers, publishers, teachers, students, and all champions of literature, our support is what gives these stories wings as we look ahead to October 10 at Eko Hotel.”
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