A Coveted Prize for Resilience
This year’s Nigeria Literature Prize awards ceremony was a celebration of milestones, marking 20 years of literary excellence and Nigeria LNG’s 35 years of incorporation and 25 years of operations. Okechukwu Uwaezuoke reports
Twenty years on, the Nigeria Literature Prize plods on remarkably towards the future. Or, at least, that was the theme of the prize’s grand awards night on October 11 at the Eko Hotel and Suites in Victoria Island, Lagos seems to hint at. The glitzy event, according to Nigeria LNG’s managing director, Dr. Philip Mshelbila, also marked 35 years of incorporation and 25 years of exceptional operations. “The Prize for Literature is focused on the children’s literature genre this year,” he noted. “The authors have written stories that symbolise children as the future, while stirring our thoughts on the rights and well-being of children.”
Of course, that the $100,000 prize was eventually awarded to Olubunmi Familoni, who alongside Ndidi Chiazor-Enenmor and Uchechukwu Peter Umezurike made the final shortlist, is now public knowledge. Recall that Familoni won the prize’s this year’s edition, which focused on children’s literature, for his entry The Road Does Not End, a work about which the prize’s Advisory Board chairperson, Professor Akachi Adimora-Ezeigbo, said was selected after a rigorous evaluation process from three outstanding finalists. Familoni’s work stood out among the finalists for its compelling narrative and cultural impact.
The university don, who herself belongs to the covetted pantheon of the prestigious literary prize’s laureates, lauded the NLNG, who instituted the prize exactly 20 years ago, for its unwavering support of Nigerian literature, adding, “NLNG has not only maintained The Nigeria Prize for Literature but has also consistently promoted literary writing, criticism, and reading nationwide. Their sponsorship of both the Literature and Literary Criticism prizes is vital in providing Nigerian writers with platforms to display their talents.”
Regarding the prize, which cycles annually through prose, poetry, drama, and children’s literature, Professor Adimora-Ezeigbo reaffirmed the already familiar facts. And that is the fact that the judging panel meticulously evaluated entries based on established criteria. From 11 longlisted entries, the panel selected three exceptional finalists.
On the winning entry, Professor Adimora-Ezeigbo said it deserved the prize “for its thematic depth, lyrical quality, and social relevance” and remarked that the book, which she further extolled for its ability to engage both children and adults with its powerful narrative and strong moral message, was a powerful portrayal of the daily struggles and resilience of vulnerable youths in Nigeria. “The winning novel tells the compelling story of street life in Lagos, focusing on children who must fend for themselves. Familoni’s gripping narrative highlights their daily struggles and resilience, bringing attention to the societal issues faced by vulnerable youths in Nigeria,” she told the audience. “The author brings to light the harsh realities of life for many young people, highlighting critical societal issues that often go unnoticed. Through the story, readers are drawn into the characters’ perseverance and hope, despite the challenges they face.”
Familoni’s emergence from the Nigerian literary scene’s seething talent cauldron wasn’t a happenstance. Last year, when the prize focused on drama, he was longlisted. Strong indications suggest he had prior to that time flourished, often under the radar. For years, he produced plays, screenplays, short fiction, and essays exploring human experience’s depths. He has thus established himself as a credible voice, capturing life’s complexities, illuminating hidden corners, and painting vivid portraits of a dynamic world.
As the accolades piled up—a resounding endorsement of his proficiency—the Association of Nigerian Authors (ANA) had twice recognised him with its cherished prizes: the 2015 Prize for Short Stories for Smithereens of Death, a collection that slices through the veneer of society, and the 2020 Prize for Children’s Literature for I’ll Call My Brother For You, a story that follows the life of nine-year-old Abayomi as he struggles with the challenges of being an only child. Then, his debut play, Every Single Day, had caught the discerning eye of the British Council, earning a coveted spot in the Lagos Theatre Festival.
Critics inevitably took notice, oftentimes lavishing him with praise that rippled across the literary circles. Moreover, his writings have been featured in esteemed publications, including Jalada Africa, Ake Review, Bakwa Magazine, Afridiaspora Anthology, Agbowo, and Kikwetu Literary Journal.
These are good reasons why his victory in this year’s edition of the prestigious prize further solidifies his literary stature, joining the ranks of esteemed past winners, including the late iconic poet Gabriel Okara, Professor Ezenwa Ohaeto, Professor Ahmed Yerima, Mabel Segun, Professor Akachi Adimora-Ezeigbo, Kaine Agary, Adeleke Adeyemi, Esiaba Irobi, Chika Unigwe, Tade Ipadeola, Sam Ukala, Abubakar Adam Ibrahim, Ikeogu Oke, Soji Cole, Jude Idada, Cheluchi Onyemelukwe, Romeo Oriogun, and Obari Gomba.
Despite its storied past, the literary prize—unarguably one of the world’s most esteemed—has largely overcome its controversies, thanks to the organisers’ deliberate fence-mending efforts. Since its 2004 launch, the prize has navigated a turbulent phase of needless controversies, initially sparking outrage by excluding foreign-based Nigerian writers and consequently earning the disparaging label “ghetto prize.” Although this decision was later rescinded, criticisms lingered. Notably, this had to do with the prize’s occasional non-award—a total of three instances—remained contentious. Interestingly, drama stands out as the only genre that has consistently produced winners in its quadrennial cycle and has not once returned a ‘no-winner’ verdict, unlike the other rotating genres.
Notwithstanding its past controversies, the prize has cemented its place in Nigeria’s literary calendar, standing tall alongside the Nigeria Prize for Science and the Nigeria Prize for Literary Criticism. Two decades on, its allure remains steadfast, a reflection of its relevance and the organisers’ unwavering commitment. As the spotlight shifts to prose fiction next year, the stage is set for a fiercely competitive contest.
