Creative writing, unlike other forms of writing, is anchored on the creative exploitation of imaginative resources to tell a story. The key ingredient in this type of writing is creativity. While the ordinary writer may go straight to the point he intends making, the creative writer, on the other hand, builds a world and designs that world with colourful materials in order to give the story an appealing, pleasant, attractive and endearing outcome that will enable the reader to enter the world of the writer. Creative writing therefore is literary writing that emerges in the form of poetry, prose, compositions and drama. These genres have a distinguishing feature, which makes them appealing to emotion, and they also function to entertain, educate, inform and build the intellect.
So when I got an invitation letter from renowned author, Chimamanda Adichie, Creative Director of Farafina Trust to witness this year’s edition of the literary evening – a 10-day yearly creative writing workshop sponsored by Nigerian Breweries Plc – I honoured it and what an exciting evening it turned out to be in the midst of young creative writers. It was indeed one of those rare moments when the challenges of the education sector was far from my mind as I witnessed young men and women in their creative best, happy for who they are and what contributions they could make for their country. It was also heartwarming to see Chemical Engineers and others in the Sciences turning out beautiful creative works. Just when one may be tempted to think whether this nation can move forward at all, one would come across a group like this that will rekindle one’s dying hope.
In the past four years, Chimamanda has engaged some of the best young creative writers this country can boast of in an annual workshop under a non-profit foundation, Farafina Trust and her Nigerian publisher Muhtar Bakare to promote literacy and literary in the country. The aim is to improve the craft of writers and to encourage published and unpublished writers by bringing different perspective to the art of storytelling. As she mentioned that evening, it was made possible by Nigerian Breweries Plc, who’s Managing Director, Mr. Nicolaas Vervelde she described as “a lover of books”. This may surprise some because the company may be noted for Star, Maltina, Gulder and other brands in its kitty, but what they may not know is the fact that the company is at the forefront intervening in the education sector. This started in 1994 when it established an education trust fund of N100 million to take part in more funding of educational and research facilities in higher institutions, all in an effort to provide and encourage academic excellence in Nigeria. This is in addition to sponsorship of National Art Competition, in partnership with the African Artists’ Foundation and others.
One of the lessons I learnt that night was that there are different types of Nigerians: Those that leave the shores of the country because of the “challenges” and never looked back or think of the country again; they are those I call the lost Nigerians. There is the second group who left Nigeria to either go further their education or engage in business ventures but Nigeria is always on their mind as they explore every means available to make positive impact. Chimamanda falls within the second category.
Described by James Copnall in his piece “Steak Knife”, published in The Times Literary Supplement of December 16, 2011 as “the most prominent” of a “procession of critically acclaimed young Anglophone authors (that) is succeeding in attracting a new generation of readers to African literature”, she is one of those shining light that is ready to share and impart her knowledge and experience to another generation. This experience started with the publication of her first novel, Purple Hibiscus in 2003, which received wide critical acclaim; it was shortlisted for the Orange Prize for Fiction in 2004 and was awarded the Commonwealth Writers’ Prize for Best First Book in 2005. Her second novel, Half of a Yellow Sun, named after the flag of Biafra, is set before and during the Biafra War. It was awarded the 2007 Orange Prize for Fiction and has already been shot as a movie which would soon be released. Her third book, The Thing Around Your Neck (2009), is a collection of short stories.
In 2010 she was listed among the authors of The New Yorker’s “20 Under 40” Fiction Issue. In 2013 she published her third novel, Americanah, which was awarded the 2013 Chicago Tribune Heartland Prize for fiction. The Heartland Prize is a literary prize created in 1988 by the Chicago Tribune Newspaper.
Nigeria as a country is a notable breeding ground for widely acclaimed literary works. Many of the country’s writer’s, right from the first generation to the current one, all have worked hard enough to attract recognition, pride of place and substance for creative writing in the country. Names such as Esiaba Irobi, Chris Abani, Helon Habila, Sefi Atah, Martin Akpan, Chris Egharevba, Joe Ushie, Uche Umez, Chiedu Ezeana, Ogaga Ifowodo, Nnimmo Bassey, and Iboro Nelson amongst others hold the ace in contemporary literary writing.
Perhaps I need to point out here that, creative writing is a core developmental enterprise. It exists to explore the diversity of the human capacity to communicate and build a society of understanding and peaceful coexistence. Archibald Mccliesh had a good understanding of this role when he observed that societies are judged in the perspective of history by the way it handles the arts and creative vocation and its practitioners. No society survives without the contribution of its creative personalities. They constitute the leading lights, the statesmen, the philosophers and thinkers and the builders of that society. Even in its most vibrant and intelligent adumbrations, science and technology does not build society the way the arts and writing does. Arts and writing engages the human mind and intellect and always takes man back to a state of reflection and contemplation on the beauties of the natural environment, the necessity for dialogue, understanding, harmony and peaceful coexistence.
From a spiritual standpoint, writing always draws man closer and closer to God, his maker and this is why it is possible for life to still exist on earth till today. Beyond this random assessment, it must be noted that the creative potentials of writing also aids intellectual development, public confidence building, educational and human capital development and communicational development which enhancing interaction in the society by picturing the happenings in the society and calling the attention of everyone to the true image of the society and the people.
Many literary compositions like poems, plays and even novels expose the frailties in many societies and points the way to the path of morality and reason. This was captured by the rendition of a lovely poem that night titled “History is” by Efe Paul. In just five minutes Paul gave a holistic view of Nigeria’s history from the colonial period to date. Another case in point is Ayi Kwei Amah’s novel “The Beautiful ones are not yet Born” which is a graphic reference material on the inane view of contemporary Ghanaian Society and by extension the African continent. The characters in this novel consolidated the viability of Amah’s conclusion that leadership wise, “The beautiful ones are not yet born”. The same can be attributed to Chinua Achebe’s “The Problem with Nigeria” and “A Man of the People”.
It is therefore not surprising that the intellectual engine room of every society is powered by writing, especially creative writing. Civilised and development conscious nations prioritise the development of creative writing more than new weapons of war. The understanding is that, the most dangerous warfare takes place in the intellectual realm. The human mind must be developed and engaged otherwise it has the tendency of being devious; armed robbery, ritual killings, Al Qaeda, Boko Haram etc are good examples. Creative writers can therefore be at the forefront in fighting the poverty of the intellect. It has been shown time without number that young people who are encouraged to engage in reading books often come out better developed and highly responsible.
Finally, writers, especially creative writers are icons of development and therefore constitute the image making and public confidence building resources of where they come from. A Nigerian visiting a foreign country is often referred by the identity of their notable writers such as Wole Soyinka, Chinua Achebe, JP Clarke and lately Chimamanda. Many nations and international bodies deal with countries though their output in the creative field. There are many educational development opportunities that come to Nigeria for example because of the image of these and other outstanding writers. I urge our graduates and undergraduates to be part of this and other ventures aimed at capacity building.
