Uzoma Ihejirika

“Love is a good point for telling stories because it brings out all the other emotions of pain, happiness, joy, euphoria, and sadness,” she said of the warmly received Ndani TV web series. “And it’s what our audience—a lot of them—want in their lives.”

Collins Okoh, co-writer of the ₦636 million box office juggernaut starring Funke Akindele, tells us about his research of ghetto culture and the need for creative freedom for screenwriters. “I never thought that a gun would be referred to as ‘English’ until I started writing the movie,” he said.

Like in a Nigerian Thelma and Louise, two friends are on the run in this fast-paced series by Kenneth Gyang and Biyi Bandele.

Chiege Alisigwe and Swanky JKA break hearts as a maddened mother and her lost son in Victor Iyke’s AMVCA-winning Igbo language film.

In an unusual decision that has surprised and delighted observers, the final three poets—Romeo Oriogun, Su’eddie Vershima Agema, and Saddiq Dzukogi—come from the younger generation.

It is the Zimbabwean’s second novel to be longlisted, after her 2013 debut We Need New Names reached the shortlist.

With his queerness and community as shield, the Somali writer is the rare artist who considers himself art. “We can be as weird and wonderful and brilliant and badass as we want to be,” he says in his first in-depth interview in eight years.

“Having grown up in a small city in Nigeria where I had to cobble communities—both queer and literary—the value is in becoming a part of this incredible anthology that makes it possible for us all to exist,” said the Nigerian writer.

The Nigerian social critic has blogged extensively on the intersection of African literature and politics.

The Nigerian author of Prince of Monkeys on why rap is “worthy of creative theft by contemporary writers,” and how “the exploits of young writers allow younger writers to dream bigger.”