The literary world is abuzz with the announcement of the 2025 O. Henry Prize winners, a selection deeply influenced by the discerning eye of guest editor and two-time Pulitzer Prize nominee, Edward P. Jones, per lithub.com. Among this year’s chosen stories, celebrated for their imaginative prowess and profound truths, is “Miracle in Lagos Traffic” by Chika Unigwe.
This poignant work by the Nigerian writer, originally published in the Michigan Quarterly Review, marks another significant moment for African literature on the international stage, highlighting the rich and diverse voices from the continent.
“Miracle in Lagos Traffic” no doubt captivated Jones with its unique blend of vivid setting, compelling characters and a narrative that resonates with universal human experiences within the specific context of Lagos.
Jones, lauded by The New York Times as one of the most significant fiction writers of the new millennium, championed narratives born not from observation alone, but from the fertile ground of the human imagination, echoing the spirit of the prize’s namesake, O. Henry.
The selection process, overseen by Jones, who himself has twice been honoured with the O. Henry Prize, emphasised stories that dared to invent and shape realities, revealing deeper emotional and societal truths. As Jenny Minton Quigley, in her introduction to the collection, notes, Jones sought out “true stories they have dreamed up out of nothing,” a sentiment underscored by his own creative process. Reflecting on his story “In the Blink of God’s Eye,” Jones explained, “The phrase ‘You can’t make that stuff up’ is simply not true.” His focus was on the power of fiction to illuminate the human condition in ways that mere factual recounting cannot.
This year’s winners, a diverse group of talented writers, have clearly absorbed this ethos. Their stories, ranging in theme and setting, share a common thread of imaginative brilliance, crafting narratives that resonate with authenticity despite their fictional origins. The winning selections include Wendell Berry’s “The Stackpole Legend,” Gina Chung’s “The Arrow,” Addie Citchens’s “That Girl,” Michael Deagler’s “The Pleasure of a Working Life,” Lindsey Drager’s “Blackbirds,” Clyde Edgerton’s “Hearing Aids,” Dave Eggers’s “Sanrevelle,” Madeline ffitch’s “Stump of the World,” Indya Finch’s “Shotgun Calypso,” Alice Hoffman’s “City Girl,” Jane Kalu’s “Sickled,” Thomas Korsgaard’s “The Spit of Him” (translated by Martin Aitken), Ling Ma’s “Winner,” Anthony Marra’s “Countdown,” Lori Ostlund’s “Just Another Family,” Ehsaneh Sadr’s “Mornings at the Ministry,” Daniel Saldaña París’s “Rosaura at Dawn” (translated by Christina MacSweeney), Zak Salih’s “Three Niles,” Yah Yah Scholfield’s “Strange Fruit,” and Chika Unigwe’s “Miracle in Lagos Traffic.”
The announcement comes at a time when the role of human creativity is being questioned by the rise of AI-generated content. Quigley highlights this contrast, noting the “clichés” and lack of genuine insight in AI-created toasts compared to the deeply felt narratives crafted by this year’s O. Henry Prize winners. The collection serves as a powerful reminder of the unique ability of human imagination to forge meaningful connections and explore the complexities of life through the art of storytelling.
