Congratulations on winning The Nigeria Prize for Literature 2025. What was your first reaction when your name was announced?
I was completely overwhelmed. For a few seconds, it felt surreal, almost like time paused. This prize is one of the most prestigious honours for any African writer, and hearing my name called was deeply humbling. My first thoughts went to my family, especially my late father, who planted the seed of storytelling in me through the tales he shared when I was a child. I also thought of my husband and children. Their unwavering support and inspiration are at the heart of everything I do. It was a deeply emotional moment that affirmed that storytelling truly matters.
What inspired ‘Sanya’, and what does the title mean to you?
‘Sanya’ was born from my desire to reimagine African mythology and tell our stories from a place of power, depth, and authenticity. The inspiration came from listening to the stories I had long heard and wondering what they could become if retold through a modern lens. The name ‘Sanya’ means ‘to redeem or compensate for hardship or pain,’ and for me, that captures the essence of the story: how choices, power, and ancestral memory shape who we become. It’s a story about legacy, resistance, and the divine feminine – all woven into the fabric of Africa’s spiritual and cultural heritage.
The judges called your novel ‘fascinating’ and ‘unrelenting.’ What do you think makes it stand out?
I believe ‘Sanya’ stands out because it does more than tell a story; it challenges perception. It reclaims African mythology not as folklore but as a sophisticated, living philosophy. The novel is layered with themes of power, identity, destiny, and transformation, and it refuses to simplify Africa into a single narrative. It also merges myth with contemporary questions about leadership, memory, and change. That combination – ancient wisdom told with a modern urgency – is what I believe gives ‘Sanya’ its unique voice.
How much of ‘Sanya’ comes from personal experience or real-life observation?
Quite a lot. While the world of ‘Sanya’ is mythological, the emotional core is very real. My background in nonprofit work, social impact, and leadership deeply informs how I approach storytelling – as a tool for change. My lived experiences as a wife and mother, as a woman navigating identity, and as a young girl growing up, are all woven into the book. Even though the characters are fictional, their struggles with destiny, power, and belonging mirror the real tensions I’ve observed in society and in myself.
What does this $100,000 prize mean for you as a writer and for Nigerian storytelling?
It is a profound affirmation, not just of my work but of the power and value of African stories. For me personally, it’s a reminder to keep pushing boundaries and to continue writing stories that honour our heritage while speaking to the future. For Nigerian storytelling, this prize is spotlight – proof that our narratives can command global attention and shape global conversations. It’s also an invitation to more writers to see storytelling not just as art but as influence, as a strategy, and as a tool for societal transformation.
How do you see the current state of Nigerian literature, especially in prose fiction?
Nigerian literature is in an incredibly dynamic place right now. We have writers who are fearless in their storytelling – blending genres, experimenting with language, and telling stories that are unapologetically rooted in our experiences. What excites me most is the expanding range of narratives: from deeply local stories to speculative fiction, from mythic reimaginings to bold political commentaries. Our literature is evolving, and it’s claiming space globally while remaining authentically Nigerian. I think this is just the beginning.
What message do you hope readers take away from ‘Sanya’?
I hope readers walk away with a deeper understanding of the richness and complexity of African mythology – and by extension, of Africa itself. I want them to see that our stories are not relics of the past but living, breathing frameworks for understanding power, destiny, and humanity. Above all, I hope ‘Sanya’ inspires readers – especially young Africans – to see themselves reflected in powerful, nuanced ways and to understand that their stories are worthy of being told and celebrated.
What advice do you have for others who may compete for this award in the future?
Write boldly and truthfully. Don’t chase trends – write the stories that burn inside you, the ones only you can tell. Honour your voice and trust your process. Also, read widely and deeply, not just African literature, but global works, too. Most importantly, remember that storytelling is not a sprint; it’s a journey. Every page you write is part of something larger than yourself.
Do you see yourself winning the Nobel Prize for Literature one day?
I believe in the power of possibility. For me, it’s not about chasing awards but about staying faithful to the work, telling stories that matter and that shift how the world sees Africa. If my writing continues to resonate and make an impact, and if that path leads to a Nobel Prize someday, I would embrace it with gratitude. But my focus remains on the storytelling itself. That is the real prize.
What’s next for you? Another novel, or perhaps a screen adaptation of ‘Sanya’?
Both! The sequel to ‘Sanya’ is already in development. It will expand the world, deepen the mythology, and explore new layers of the story. I’m also exploring a screen adaptation because I believe visual storytelling is another powerful way to bring African narratives to the world. Beyond ‘Sanya’, I want to continue using storytelling as a strategic tool across literature, film, and beyond to shape narratives, influence change, and leave a legacy for generations to come.