Interview with Helon Habila at Pambazuka News

Last week I had the privilege to finally meet Helon Habila in person (at George Mason University), after many years of reading his work and communicating by email. He was a gracious host, and it was delightful to hear about his most recent projects.

Tonight I came across this interview Mildred Kiconco Barya did with him back in May for Pambazuka News. Enjoy.

Helon Habila on "Art and Censorship in Kano"

One of my favourite authors on one of my favourite causes....

Jos Festival of Theatre 2009

Sorry to everyone for having gone MIA on this blog. I've actually started another blog up on wordpress, which has been sucking all my attention away from this one. I still plan to keep this one active...

For those in Jos, I just recieved the following announcement from Jos-ANA

JOS REPERTORY THEATRE
presents
5TH JOS FESTIVAL OF THEATRE 2009

10 DAYS OF EXCITING OPPORTUNITIES TO WATCH LIVE ON STAGE

ATHOL FUGARDS WOZA ALBERT directed by Tunde Awosanmi, 20 / 21st March,

BOSE AYENI-TSEVENDE’S MORNING YET AGAIN, a musical based on the book U ARE APOET, written and choreographed by Bose Ayeni-Tsevende,

22nd March SPENCER OKOROAFOR’S VISA TO NOWHERE directed by Eucharia Egah, 23rd March

PHILLIP BEGHO’S SMALLIE directed by Wapi Barau, 24th March

JEAN PAUL SARTRE’S NO EXIT directed by Patrick-Jude Oteh and supported by theFrench Cultural Centre, Abuja , 25th March

ADINOYI OJO ONUKABA’S A RESTING PLACE directed by Emmanuel Degri, 26th / 27thMarch

WOLE SOYINKA’S THE TRIALS OF BROTHER JERO, directed by Austin Efe Okonkwo,28th / 29th March

……………..all plays are suitable for all ages………………….

ALL PLAYS END AT 7..15 P.M.

DATES: FRIDAY 20TH – SUNDAY 29TH MARCH,

2009 VENUE: ALLIANCE FRANCAISE, OPPOSITE STANDARD BUILDING ,

JOS TIME: 5.00 P.M.

DAILY GATE: N500, STUDENTS N 200.

PLEASE CALL 0803 700 0496, 0805 953 5215, 0803 701 8172 further enquiries
Or e.mail: josreperthea@yahoo.com for tickets.

TICKETS WILL ALSO BE AVAILABLE AT THE GATE! Jos Festival of Theatre is made possible by the FORD FOUNDATION and the FrenchCultural Centre, Abuja PLEASE BRING A FRIEND TO THE THEATRE

Elechi Amadi kidnapped in Niger Delta

I have just found out via the Jos-ANA listserve that Nigerian novelist, playwright, and poet Elechi Amadi, probably most known for his novel The Concubine and prison diary Sunset in Biafra, was kidnapped by militants in the Niger Delta. The only article I have been able to find about it so far is on Bloomberg News

For more information about Elechi Amadi, see his website. (Note: the website does not yet have mention of the kidnapping).

Update 8:52pm: And after my dinner break, I came back to find the news also on BBC.

And a very short piece on Afrique en ligne in English and French. Apparently Amadi is also the chairman of the Rivers State scholarship board.

Update 10:36pm: A friend just im-ed me and let me know that according to elechiamadi.org, he has been released. It has not yet shown up on google news alerts; but here is a link to the discussion post in which one degini2 says that he has been "returned to his home."

Image Credit: Sun News Online

Making A Scapegoat of...

An excerpt from an editorial which talks about the arrest of 'dan Ibro in today's Leadership:

Making A Scapegoat Of...

Sa’idu Mohammed Sanusi

[....]
One doubts whether political abracadabra, bureaucratic gibberish, blabber of amateurish politicians, political mercenaries and hirelings could exonerate apparently brazen partisan actions from their basic nature, mere political brigandage or grandstanding. One also wonders why most politicians spotting whichever toga increasingly and desperately attempt to cloak/ conceal unjustified political decisions, actions/inactions through indiscretion. Is it a virtue glorifying or celebrating cowardice? One should not be under illusion that dominant public disposition in Nigeria and its constituent parts, Kano State inclusive, are political. Is it not foolhardy to attempt drawing a demarcation line between politics and recent official actions of the state government?
Of recent, several political events have happened in Kano state, most of which bordered on presumed unpopularity of the state government's decisions that culminated in reported pelting of governor Shekarau in the Emir's palace on the last day of the just-concluded Ramadan fast Tafsir. The unfortunate event elicited comments from government and the opposition, and engendered placement of concentric security measures around the personality of the governor to enhance his personal security and that of his household. This is, indeed, commendable for security of life and property is so sacred in a civilized society. This is more pertinent considering that life of the state chief executive is involved. Nonetheless, security should be pursued without putting lives and properties of the ordinary citizens in jeopardy. The security arrangement is legally instructive, morally imperative and politically pre-emptive.
Moreover, the state government and its agents should not be seen to, in the process, engage in trampling on fundamental freedom and liberty of ordinary citizens, even of those considered as underdogs. There is no democracy without guaranteeing basic human liberty. This is a fundamental preachment of liberal democracy that Nigeria purports to operate. Could democracy be sustained when citizens' freedom is grossly endangered under whatever pretext? Hardly!
The popular Hausa Film comedian, Rabilu Musa Danlasan, alias Dan Ibro and co-artist Lawan Kunawa were, reportedly arrested by the Kano State Censorship Board, allegedly on a trumped up charge of contravening aspects of Censorship laws operating in the state. They were expeditiously arraigned and convicted by the Censorship Mobile Court presided over by the Senior Magistrate, Mukhtari Ahmed. It was not the arrest and arraignment of the victims that mattered but the circumstance and the speed with which the case was heard and disposed of. Even the penalty meted out to the offenders calls to question the process. Another question is why were the two artists the main target? Were they the only indecent dancers in the film?
The actual offense of the accused had to do with a role he allegedly played in comedy films entitled Ibro Aloko and Ibro Kauranmata which the Censorship Board took exception to. According to the report Dan Ibro and Lawan Kunawa were said to have indecently danced in the film, contrary to the provisions of Kano state Censorship Law. In addition the films were allegedly released without proper screening and authorization by the Censorship Board, another offense. The presiding Magistrate Judge found the accused guilty as charged and sentenced them to two months imprisonment without option of fine. The producer of the film was equally found guilty of the same offense and fined N40, 000, which he instantly paid. When Dan Ibro was asked for his comment after conviction, he was reported to have alleged he was only a target of political persecution, which could be an apt assessment of the situation.
Concerned Kano-based Hausa filmmakers have indicated interest in appealing the judgment and pursuing it to logical conclusion. Generally, observers feel that Ibro and Kunawa's arrest, arraignment, trial, conviction and imprisonment were politically motivated and maliciously pursued. This seems to be the broad-based belief of Kano citizens, especially those sympathetic to the victims. According to some respondents interviewed by this writer, Ibro Aloko was released about two years ago, and Ibro Kauranmata was released before the advent of Censorship law in the state. Legal luminaries were called upon to explain whether a law could have retrospective effect. Some wondered why the Censorship Board suddenly developed interest in the film, Ibro Aloko after some negative political happenings in the state. The political insinuations sound plausible if only to explain reason for the technicality and lacuna in the arrest and subsequent trial of the accused. Unconfirmed reports also have it that it was in the said film that Dan Ibro and his group sang "Mamar" Song, the song alleged to have been sung by hooligans that pelted Shekarau in the Emir's Palace. Mamar is popularly sung to make a jest of people that wear a peculiarly striped textile material in Kano during the last Eid- el-Fitr Sallah. The term, Mamar is also alleged to have originated from some Borno dialects, meaning of which could no be ascertained at the time of this piece. Governor Shekarau was allegedly fond of the material, which he was wearing when he was pelted in the Emir's Palace. Political observers believe that Dan Ibro and Lawan Kunawa were targeted as scapegoats to face punishment for governor Shekarau's pelting and embarrassment.
In addition, some Kano-based textile material merchants were alleged to have stock-piled the material in question, and have reportedly made representation to the state government and security agencies in the state over the issue. The traders allegedly in possession of unsold striped material were very angry. What made them jittery was possibility of incurring losses, because prospective buyers have shunned the material in the market. The merchants have attributed this to Dan Ibro's Mamar song in Ibro Aloko film that has been used to make a jest of anybody wearing the material in Kano State. Some of the traders were allegedly boastful that somebody somewhere must pay for their impending loss.
Contacted for his reaction over alleged political undertone in Ibro and Kunawa's trial, Mallam Abubakar Rabo Abdulkareem, Director-General, Kano State Censorship Board, out rightly refuted the allegation. He claimed he was away In Saudi-Arabia when governor Shekarau was pelted. He however, agreed that the film, Ibro Aloko could have been shot about two years ago, but it was not released till recently. He added, "We can only take an action when it is released to the public." Mallam Rabo has vehemently denied that their action on the film was dictated by political considerations, stating, "Kano Censorship Board is a statutory body set by the state government law aimed at sanitizing filmmaking and marketing industry in Kano state." But he conceded that the Board acted under mounting pressure from stakeholders, though he denied that was dictated by political motive/ consideration.
On the other hand, watchers of political events and Kano state Censorship Board activities have posited that Dan Ibro/ Kunawa's arrest and conviction was in tandem with seemingly systematic harassment of artists, especially filmmakers. They also asserted that it could be recalled that Alhaji Hamisu Iyan Tama, Hausa film producer/ artist was also targeted and humiliated, though his trial was not as speedy and controversial. It is not unlikely that high profile arrests, arraignments and convictions of particularly Hausa filmmakers and book writers would be witnessed in the state more often than not.

Mutum Duka Mod’a Ne: HIV as Transformative agent in Hausa Novels and films

I have just posted on my other "academic"/"literary" blog a paper and the handout (with pictures) that I presented at the African Studies Association in 2006, looking at representations of HIV/AIDS in Hausa novels and films. The film Hafsah directed and produced by Sani Mu'azu had not yet been released at that time, but I hope to add a section to the paper dealing with Hafsah.

The Novel Jiji by Plateau-based author Changchit Wuyep

Several weeks after I arrived back into Nigeria, I had the pleasure of attending a meeting of Jos ANA (Association of Nigerian Authors). I was quite involved with the Jos ANA chapter when I lived in Jos from 2001-2003, but the membership has almost completely changed. Nevertheless, I don’t know if I have attended another ANA meeting in which I have been so impressed by both the quality of the works read and the level of commentary and discussion about writing. While there, I met Mrs. Changchit Wuyep who read from her novel Jiji, a mythic novel set in pre-colonial Plateau State. I bought a copy and finally got around to reading it on a 12 hour trip on a bus from Ibadan (where I had gone for a conference) to Jos last week. I was enthralled, and wanted to write a little blurb for it here. This weekend I did an interview with Mrs. Wuyep, which I will post, together with the blurb on my other blog.

Jiji by Changchit Wuyep

With a storytelling flair remniscient of Amos Tutuola, Abubakar Imam, Flora Nwapa, and Zainab Alkali, nurse and writer Changchit Wuyep spins a tale about a Sinbad-like hero that is rooted in the worldview of the Tarok people of Plateau State:

In one of the worst storms ever seen in the village of Jangnap, a child is born who will bring both misfortune and deliverance his people. Claimed by a river goddess who will not be appeased, the child is miraculously saved from drowning by a gorilla and is raised by mountain people, propelled from one adventure to another by multiple warring gods, who desire him as their champion. The novel takes the form of a journey in which the hero and his faithful gorilla companion are pulled between two forces of dark and light, the water goddess and the mountain god. While given supernatural forces by the gods, his strong sense of justice comes from what he has learned in his years of travel in the mountains, the forest, the desert, and the sea, and his interaction with hermits and villagers, spirits and gods. After having grown from an infant to a man, Jiji arrives back to Jangnap. It is his sense of justice learned of his wanderings, even more than the gifts of the god, that bolsters him in his final battle against oppression.

To read my conversation with Changchit Wuyep, see my other blog.

The subversive power of new technologies....

(written Friday... now in an internet cafe singing along to Boyz 2 Men, "Now, we come to the end of theuh rooaad, still I caaaan't leet go-ooooo....")

I got back to Kano from Jos yesterday to the news that I had taken the light with me. No PHCN/NEPA for five days straight. In Jos, it was off for at least three of those days. My father visited the local PHCN office to have a long detailed conversation with the workers about a national power grid failure… ai me…

Here is a story I was told last night that excited me and made me think that my desire to write on the way technology is exploding existing power structures is on track. The family friend who told me this is a young Bakane man, let’s call him Bashir, who is waiting for NYSC, having completed his degree this past year. There was a lecturer at his polytechnic who was a known “tribalist” and chaser of female students. According to Bashir, this lecturer did not like him because Bashir is Hausa-Fulani, and although Bashir had made Bs on both of his exams, the man failed him. Bashir took his case to the HOD, upon which the lecturer claimed that he had seen Bashir cheating, and that is why he failed him. When asked to prepare another exam for Bashir to retake, since he had no evidence that Bashir was cheating, the man brought an exam in which he filled it with things that had not been taught in the class. When Bashir protested that this was testing things they had not been taught, another student from the class was brought in, who confirmed Bashir’s story that none of the things on the new exam had been taught in that course. Finally, the lecturer cornered Bashir and told him that unless he paid him N10,000, he would not pass him.

“I went back to the hostel and cried,” Bashir tells me. “What else could I do? Where could I come up with the money? If I told my father, he would not give me since he has always advised me that I will advance in life from my own hard work, not whether I am rich or poor.”

Typical story, right? One played over and over again in Nigerian literature and popular culture. (See Buchi Emicheta’s Double Yoke, Eedris Abdulkareem’s “Mr. Lecturer,” Ado Ahmad Gidan Dabino’s Hausa novel, Wani Hanin Ga Allah) Here is where it gets interesting. Bashir tells me that he remembered an episode of 24, he had seen in which a girl had alerted police to what was going on by dialing a number and keeping her cell phone open. Bashir realized he could use his cell phone in a similar way. So, he went to the lecturer and pressed “record” on his cell phone and proceeded to beg his lecturer. “I don’t have the money. I cannot come up with 10,000 naira,” he told the man. “If you don’t have 10,000 naira, bring N5,000, he told him.” Bashir begged him some more to reduce it to N2,500, and they finally settled on N3,500. Bashir told him he would bring it the next week, and the lecturer said that he must bring it by the next morning or he would fail him.

“I went straight to the HOD,” Bashir said. “I told him that the lecturer asked me for N10,000 to pass his class.” The HOD said, “No, not him. He wouldn’t do that. Where is your proof?” “I pulled out my phone and played him the recording. He sat with his head in his hands, saying ‘oh no, oh no.’ From there, there were some who wanted to sack him, but there was a powerful professor, who is of his same tribe and also a cultist, who fought for him. (Because he is involved with the cults everyone fears him, even the other lecturers.) So, he was suspended for 6 months. Shege wawa….”

This powerful professor succeeded in (according to Bashir) reducing his 2.1 degree to a 2.2 (even so, he graduated first in his class), trying even to give him a 3^rd class until one of the other lecturer’s argued that there would be trouble from the external examiners if they saw that he had graduated at the top of his class but had gotten a 3^rd class.

What excited me about this story, whether or not it is embroidered in Bashir’s favour, is recognizing the ways in which new technologies are exploding hypocrisies. The power of the cell phone in exploding secrets is clear enough in the Hiyana scandal, in which the adultery that would normally have stayed the secret of the businessman and the actress became public knowledge. (Of course a professor here tells me that similar sex phone videos created by students had been seized at the university even before the Hiyana scandal, but the fact that an actress was involved in the phone video gave the critics the ammunition they had been looking for to confirm the “iskanci” of the film industry.)

What interests me, however, is how these new technologies are challenging entrenched power structures of society, in which filmmakers (and musicians with music videos) tell stories that expose (or at least make accusations about) the secret lives of the rich and powerful. These stories, which the critics try to pass off as mere “entertainment”/ “spoiling society with the corruption of the West” /“what sales,” are actually often profoundly political statements by disenfranchised youth against the excesses of their elders. Ado Ahmad Gidan Dabino’s novel In da So da Kauna first published in 1991 (or 2) anticipated this: The heroine Sumayya suffers through many trials (most prominently including her grandmother taking bribes from a wealthy suitor) to finally marry her poor but virtuous lover, Muhammad. After the marriage, her grandmother comes to the house and tries to break up the marriage. Unknown to her, Sumayya records their conversation and then plays it back to her father, thus discrediting her grandmother.

Such examples turn value systems which value elders, wealth, and “minding one’s own business” or “keeping secrets” on their head. The argument from the youth seems to be that the elderly and the powerful have forfeited their right to respect by abusing their privileges. New technologies (cell phones, digital video recorders, internet, etc) now give youth a power to challenge the entrenched power structures.

Now if there were some viable cheap technology to challenged the entrenched power (or non-power) structure of PHCN (other than generators....)

Interview with Controversial Playwright Shehu Sani, author of The Phantom Crescent, on Sumaila Isah Umaisha's blog "Everythin Literature"

Having moved out of my apartment last week, I check in to the blogworld from my "cage" in the library where I attempt to finish revisions on my dissertation proposal. Checking through my blog roll, I find a fascinating interview with Shehu Sani, the playwright whose play The Phantom Crescent is critical of the application of shari'a law in Northern Nigeria, on Sumaila Isah Umaisha's blog Everythin Literature. Critics attempted to get a shari'a court to ban the play, and the play is currently "stopped [...] from further circulation, distribution or performance."

Some excerpts from the interview:
"many people have reached out to me from both within and outside the country, that they want to reproduce the Phantom Crescent and that I should even perform it in London, Paris and other places. But I’m not interested in performing in London or Paris, because I want to simply educate and enlighten the people that are here where I come from. I’m not intending to make it a show business kind of thing; I wrote my book to reach out to my own people and to send a clear message and it is here that it should be performed and not anywhere else."
...
"what I will say is that we cannot have laws in a society where the leaders are lawless themselves. We cannot have one kind of law for the poor and another one for the rich. I think for the implementation of Shari'a to be effective certain things are necessary. One, there should be enlightenment and education. Those who are for it and those who are against it must be enlightened. Secondly, there must be a serious attempt to solve the problem of poverty. For instance, if you have money as a government, you have two options; either to solve the problem of water or solve the problem of water borne diseases. They should know it that when you address the problem by providing clean water there will not be water borne diseases. But if you think you can allow people to drink from the mud and then cure those who are affected by the diseases that come from that sources of water, I think you are simply wasting your time. So you must solve the problems that lead people into crimes or else you will only succeed in punishing and jailing people and the problems will not be solved."

A Brief Biography of Helon Habila

Here is another bit that I've excised from my introduction, but which I am keeping in an appendix. Any corrections or comments welcome.
[NOTE: updated 10 January 2008]

Appendix 3:
A Brief Biography of Helon Habila:
Helon Habila[1] was born in 1967 to a Christian Tangale family in Kaltungo, Gombe State, in the northern middlebelt region of Nigeria. His father, Habila Ngalabak, started out his career as a preacher with white missionaries, and later become a civil servant with the Ministry of Works, which meant that the family often moved around when Habila was a young boy. Habila’s mother contributed to the family income with her work as a tailor. Habila completed his primary and secondary education in the city of Gombe. According to the introduction of his interview with Helon Habila “Everything Follows,” Frank Bures notes that Habila’s skill in weaving stories was noticed early on by his teachers: “In his fifth year of primary school, his teachers … took him to various classrooms to spin his tales for the other kids.”

In the introduction to his short story “The Night of the Monster” on the Crossing Borders African Writing website, Habila describes the very first influences on his own storytelling ability, noting that that his “first encounter with fiction was oral, not textual. I grew up in a tenement house with about six other families, and in the nights our mothers would gather all the children, more than a dozen of us, and tell us stories… I can now see the influence of those stories in my fiction—I like compelling story lines that grip you, like the ancient mariner, and force you to listen.” However, after learning English at around age seven, he “never stopped reading.” The third of seven siblings, Habila describes himself growing up as “the outsider, watching, unable to fully participate. (I am the only one in my family who is not fluent in my mother tongue). I grew up reading anything I could lay my hands on…. I was going to be a writer, and that was it.” His early influences he cites as the Bible in Hausa and English and later in his teenage years Western classics such as Dostoyevsky, Flaubert, Henry James, Dickens, and so on. (Habila, Introduction “The Night of the Monster”). In an Encompass Culture interview hosted by Susan Tranter he claims that his literary idols range from “Shakespeare to Soyinka. I am always open to impressions and ideas. The beauty of the novel is that it can absorb as many styles and philosophies as one cares to throw into it, and it gets the better for it.” The authors he still hears “ringing in my sentences and opinions, are Stephen Crane, Achebe, Ngugi, and Shakespeare.”

Although he had fallen in love with stories and literature at an early age, he initially attempted to follow his father’s dream for him to become an engineer, enrolling at the Bauchi University of Technology and then the Bauchi College of Arts and Sciences (Bures and Habila). However, his studies did not interest him, and he finally returned home “directionless and despondent.” He confided to interviewer Jason Cowley “‘I had no idea what I would do or what would become of me,’ he says. ‘I used to quarrel so much with my father.’” In 1989, while still at home “holed up in his room, reading and writing,” (Bures and Habila) Habila’s father and one of his younger brothers was killed in a car accident, an incident which seems to inform the heartbreaking story “Bola” in Waiting for an Angel.

After the deaths of his father and brother, Habila enrolled in the English BA programme at the University of Jos. There, he thrived. And there he met his friend Toni Kan, a young man from Delta State who had a similar interest in literature and writing. The two young men entered into a friendly rivalry that pushed them further in their literary pursuits. Professor Kanchana Ugbabe remembers how the two students would often come to her office after class to talk and borrow books. Helon Habila was the quieter one, she said, while Toni Kan was more outspoken, but the two young men seemed to spur each other on. In his article “Another Age” in Granta, Habila describes how “each of us wanted to be the first to achieve literary glory. We went in for the same BBC competitions, then hid the rejection slips from each other, claiming our manuscripts had been lost in the post” (152). Shortly after Kan won an essay contest which garnered him a six-week trip to England, in 1992 Habila’s published his first short story “Embrace of the Snake” in an anthology of Nigerian writing, Through Laughter and Tears edited by Chidi Nganga(152). However, after the two graduated from the university in 1995, Habila relates that Kan’s life seemed the more glamorous. While Kan moved to Lagos to work for a magazine and soon became a literary “star,” Habila found more prosaic work at the Federal Polytechnic in Bauchi, where he lectured in English and Literature from 1997 to 1999 and published the biography Mai Kaltungo.

In 1999, at Kan’s invitation, Habila moved to Lagos and became a columnist and editor in Kan’s romance magazine Hints. (Blog Note: More on Hints as experienced by Kayode Ajala here.) He went on to become the arts editor at the influential newspaper the Vanguard and became involved with the Lagos chapter of the Association of Nigerian Authors. It was in 2000 in Lagos that he began to receive serious attention for his literary writing. His poem “Another Age” won first place in the MUSON (Musical Society of Nigeria) Festival Poetry Competition in 2000 and his short story “The Butterfly and the Artist” won the Liberty Bank Prize. His poems “Birds in the Graveyard” and “After the Obsession” were published in the collection of poetry 25 New Nigerian Poets, edited by Toyin Adewale and published by Ishmael Reed. It was also in 2000, that Habila self published his collection of short stories Prison Stories and submitted the opening story of the collection “Love Poems” for the Caine Prize for African Writing, a substantial prize awarded for “a short story by an African writer published in English” (“Rules of the Caine Prize 111). Frank Bures relates how “When the Caine Prize committee wrote back to tell Habila’s publisher that he’d been shortlisted, he replied anonymously. ‘Thanks for your mail. We’ll let the author know immediately. We hope that God will guide the judges in their choice’” (Bures and Habila). After winning the 15,000 pound prize, he received a book contract with Norton to publish the collection of short stories as the novel Waiting for an Angel. The novel, which came out in 2002, went on to win the 2003 Commonwealth Literature prize for the best first novel by an African writer. Since publication of Waiting for an Angel, Habila has been at the University of East Anglia in Norwich England where he was awarded a writing fellowship for two years and where he is currently doing PhD work on the life of Dambudzo Marechera. He has also been a fellow at the University of Iowa International Writing Program, a Chinua Achebe fellow at Bard College in 2005-2006. Currently, he teaches in the MFA program at George Mason University. His second novel Measuring Time was published by Norton in February 2007.

Here is a link to my November 2007 interview with him that was originally published in Leadership on 19 November 2007 and republished in the DailyTrust. Here also is my review of both Waiting for an Angel and Measuring Time.

(Update 10 April 2012) To purchase Helon Habila's books through my amazon associates account, click on the following links:

[1] The information in this brief biography has been gleaned from multiple sources: Toyin Adewale ed., “The Poets,” 25 New Nigerian Poets. (Ishmael Reed: Berkely, 2000). Jason Cowley, “To finish my book was an act of will.” 26 July, 2001. Guardian. http://www.guardian.co.uk/print/0,3858,4228260-103680,00.html Downloaded 29 April 2006.; Frank Bures and Helon Habila, “Everything Follows: An Interview with Helon Habila.” Poetsand Writers. 2006. <http://www.pw.org/mag/0301/bures.htm> Downloaded 2 September
06.;Helon Habila with with Susan Tranter, “Helon Habila.” Encompass Culture. http://www.encompassculture.com/readerinresidence/authors/helonhabila/ Downloaded 14 March 2006.; Helon Habila, “Another Age,” Granta. 80 (2002): 147-154.; Helon Habila. Introduction. “The Night of the Monster.” Crossing Borders: New Writing From Africa. British Council<http://www.crossingborders-africanwriting.org/writersonwriting/helonhabila/> Downloaded 2 September 2006.; Helon Habila. Email to author. September 6, 2006; “Biographies,” Timbuktu, Timbuktu: A Selection of Works from the Caine Prize for African Writing. Jacuna: Durban, 2002. p. 109-110.; Professor Kanchana Ugbabe. Personal conversation with the author. University of Jos, 21 August 2006.

Photo Credit:http://www.mywritingworld.org.uk/writersimages/Helon-Habil.jpg