The literary community in Nigeria came together this past Sunday, June 22, as Guernica Magazine hosted a memorable evening in Lagos. Angels and Muse at 5, Sumbo Jibowu Street, Ikoyi, welcomed writers, readers, and literary enthusiasts for a special gathering. The event brought together established authors, emerging voices, and those who appreciate the craft of storytelling. It was a thoughtful celebration of literature that highlighted both international perspectives and Nigerian literary traditions, offering guests an opportunity to connect over their shared love of words and stories.
The atmosphere was charged with anticipation as attendees settled in for an engaging mix of readings, captivating poetry performances, and insightful conversations. The programme, meticulously curated by Guernica, promised and delivered an enriching experience, allowing the audience the rare opportunity to hear directly from renowned figures. The impressive lineup included Michael Archer, Kiana Karimi, Molara Wood, Victor Ehikhamenor, Toni Kan, Tade Ipadeola, Jahman Anikulapo and Evelyn Osagie. Each participant brought their unique voice and perspective, weaving a rich tapestry of literary expression that resonated deeply with the diverse audience.
•From left: Executive Director of TheNEWS/PMNEWS, Mr. Kunle Ajibade; Writer, Journalist, and Editor, Molara Wood; Publisher, Guernica Magazine, New York, Michael Archer; TheNEWS Editor, Mr. Ademola Adegbamigbe; Journalist, Mr Nehru Odey. That was during a courtesy visit of Archer and Wood to TheNEWS/PMNEWS, on Friday, 20th June, 2025 at the Press House, Ikeja, Lagos/Emmanuel Ijiola for PMNEWS/TheNEWSThe evening officially kicked off with Evelyn Osagie captivating the audience with a powerful poetry performance titled, “Eko dance”. Award-winning writer and lawyer Tade Ipadeola masterfully hosted the event, seamlessly guiding the programme and setting the stage for the luminaries to shine. Ipadeola, a celebrated poet himself, also graced the audience with two distinct poetry readings throughout the evening, demonstrating his profound connection to the art form and to Guernica itself.
A pivotal moment arrived with Michael Archer, introduced by Tade Ipadeola as a multifaceted force: an educator, publisher, and writer whose decades of impactful work have left an indelible mark on the global literary scene. Archer, who has been central to Guernica since its inception, began his address with a warm expression of gratitude for the reception he has received in Nigeria. His deep appreciation for the country and its literary heritage was palpable.
Archer delved into the origins of Guernica, revealing its launch in 2004, “not coincidentally,” on Picasso’s birthday, a detail that speaks to the magazine’s artistic and political leanings from its very beginning. He then shared a particularly poignant anecdote about the magazine’s long-standing connection with Nigeria, specifically through Okey Ndibe, the first Nigerian ever to be published by Guernica.
“It was 2005 that Okey sort of came into our orbit,” Archer reminisced, highlighting Ndibe’s pivotal role in bridging Guernica with Nigerian voices. “When we published ‘My Father’s English,’ and three or four of his pieces, it wasn’t just the publishing, he sort of just became a member of our family.”
Archer’s heartfelt “Okey stories” painted a vivid picture of Ndibe’s charisma and quick wit. He recalled a moment of panic during a UN event hosted by Guernica in Manhattan when a scheduled guest failed to appear. In a moment of crisis, Ndibe, with characteristic Nigerian ingenuity, famously declared, “I got this, I’m Nigerian,” and proceeded to regale the international audience with an uproarious anecdote about his first cab ride in America. “He had all these people rolling on the floor and sort of saving the evening for us,” Archer recounted.
This anecdote underscored not only Ndibe’s exceptional storytelling prowess but also the intrinsic storytelling ability Archer has come to recognize and admire in Nigerians. Archer further emphasised Ndibe’s instrumental role in a PEN event honouring Ken Saro-Wiwa, highlighting Ndibe’s consistent dedication to literary and human rights advocacy. “I have been reminiscing a lot about Okey over the last few years, he should be here,” Archer shared, revealing a personal conversation with Ndibe just the night before, where he had asked Ndibe to send something along for the event, a request Ndibe had graciously fulfilled.
Elohor Egbordi read Ndibe’s piece at the event.
This tribute to Okey Ndibe resonated deeply, reminding everyone of the profound impact individuals can have on shaping global literary conversations.
The event further highlighted Guernica’s enduring commitment to Nigerian literature and arts by referencing a non-exhaustive but impressive list of Nigerian works previously published by the magazine. This extensive archive includes essays, fiction, and interviews from literary giants and emerging voices alike.
From Chinua Achebe’s “How Things Fell Apart” and Wole Soyinka’s translation of Fagunwa to works by Chimamanda Ngozi Adichie, Victor Ehikhamenor, Helon Habila, Sefi Atta, Chika Unigwe, Ukamaka Olisakwe, Esther Ifesinachi Okonkwo, Chika Oduah on Boko Haram, Joseph Gergel on the Nigerian Nostalgia Project, and a compelling series of pieces by Okey Ndibe himself, Guernica has consistently amplified Nigerian narratives on a global stage. More recent contributions from Afabwaje Kurian, Som Adedayor, Awam Amkpa, Mofiyinfoluwa Okupe, Kasimma, Adachioma Ezeano, Keside Anosike, Ifeanyichukwu Eze, Blessing J. Christopher, and Kay Iguh further demonstrate the ongoing and vibrant relationship between Nigerian writers and the magazine. This rich history underscores Guernica’s role as a vital platform for showcasing the breadth and depth of Nigerian literary talent.
The event continued with captivating sessions, including a reading by Roli O’tsemaye of her “Favourite Guernica Piece,” offering a personal connection to the magazine’s content. Jahman Anikulapo’s reflections on the film “The Man Died” provided a thought-provoking interlude, connecting literature to other forms of artistic expression and social commentary. Toni Kan delivered a much-anticipated reading, further enriching the evening’s literary feast. Som Adedayor not only read from his work but also offered reflections on the publication of his essay in the March 2025 issue, providing valuable insights into the publishing process with Guernica.
A particularly anticipated segment was “Getting Published in Guernica, Q & A with Michael Archer & Molara Wood,” offering aspiring writers and curious minds a direct line to understanding the magazine’s editorial process and what they seek in submissions. This interactive session underscored Guernica’s commitment to nurturing new talent and fostering a vibrant literary community. Molara Wood, a distinguished literary figure in her own right, provided invaluable insights, further enhancing the depth of the discussion.
The event also served as an opportunity to shed light on Guernica’s current June 2025 issue, a powerful collection of works that continue the magazine’s tradition of exploring pressing global issues through diverse artistic and political lenses. As highlighted by the magazine’s editors in their introductory note, this issue reflects an “attunement to local modes of perceiving, particularly under conditions of war.”
The issue features a compelling interview with visionary Ukrainian novelist Andrey Kurkov, who discusses the “uncanny proximity between absurdity and reality” in his war-torn homeland. His insights serve as a reminder that for some, the line between the real and the surreal is blurred by lived experience.
Other notable pieces in the June issue include Alan Grostephan’s essay “Fragmentos,” which powerfully renders the brutality of Colombia’s long civil war through the lens of Doris Salcedo’s anti-monument to disarmed rifles. Fan Gao’s “The Hyphen’s Dream” delves into the complexities of Chinese-American identity, exploring the fleeting sense of connection awakened by the 2025 digital migration of millions of Americans to the Chinese app RedNote. Ruru Hoong’s “骨瓷 // Bone China,” a Global Spotlights piece, is described as a grief ritual in memory of her grandfather, with “wander words” of Mandarin gently drifting through her English prose, inviting readers into a deeper understanding beyond mere translation.
Fiction also takes centre stage with excerpts from debut novels: Issa Quincy’s “Mr. Rothlan” revisits the mysterious disappearance of a beloved teacher, unearthing an ugly truth, while Raaza Jamshed’s “The Hindu House” explores childhood transgression, secrecy, and the porousness between the sacred and profane in a richly sensory tale.
Notably, the June issue features strong Nigerian and African voices. Adedayo Agarau’s poems “Wind,” “Entrance,” and “Ileya” offer “bloody and polyphonic language speckled with Yorùbá,” viscerally conveying the grief of recent abductions and killings in Nigeria. Additionally, the translated poems of Irma Pineda, drawn from Zapotec memory and resistance, speak to the toll of state violence against women and young girls. The issue also showcases striking original art from a diverse array of artists, including Nigerian talents Igbayilola Williams and Olawale Ololade.
The evening culminated with a Vote of Thanks by Victor Ehikhamenor, whose multifaceted contributions to art and literature embody the spirit of Guernica itself. His words brought a fitting close to an evening that celebrated the power of storytelling, the richness of Nigerian literary talent, and the global reach of Guernica Magazine.
This star-studded event in Lagos was indeed a powerful affirmation of the global interconnectedness of art and politics, a platform for diverse voices, and a vibrant demonstration of Nigeria’s undeniable impact on the world of literature.
