Paula Willie-Okafor

With Happiness, Like Water and Under the Udala Trees, she helped herald LGBTQ visibility in Nigerian literature. With Harry Sylvester Bird, she still isn’t looking to satisfy society. “I think, sometimes, it takes time for people to digest what literature is really doing,” the literary icon says.

The Enugu-based hub, whose exhibitions, screenings, and lecture series have drawn 7,000 visitors, is, executive director Iheanyi Igboko says, “grooming a generation of young people who are not only grounded in their history and culture but proud of their Igbo identity.”

Kunle Afolayan’s beautifully shot adaptation of Sefi Atta’s novel explores humanity and morality, but even with popstar Niyola in lead, it doesn’t rise above its source material.

Tola Odunsi’s web series is a refreshing, revelatory take on bromance, with Baaj Adebule standing out in the ensemble.

Chinny Ukata and Astrid Madimba on how their “conversational approach to the book and podcast allows us to reach audiences who wouldn’t typically engage with such content.”

The Road to the Country, the Nigerian’s third novel announcement in seven years, is part of a two-book deal, and has been compared to Erich Maria Remarque’s All Quiet on the Western Front.

In her ‘80s-set debut novel, Tomorrow I Become a Woman, a young woman is caught between her needs for approval from both society and herself.

He leaves behind a solid legacy, including the movie Fifty, the Netflix series Blood Sisters, a Fela Kuti documentary, and adaptations of work by Chimamanda Ngozi Adichie and Wole Soyinka.

The anthology, published by Jacana Media and edited by the chair of the award panel Otosirieze Obi-Young, includes work by Roy Udeh-Ubaka, Ukamaka Olisakwe, Moso Sematlane, Chisom Okafor, Halim Olaposi, Sheena Magenya, Kanyinsola Olorunnisola, and more.

An investigative feature in Airmail traced the American Nigerian writer’s history of taking without attribution.