Wole Adedoyin interviews Akinola Sesan: Effective Storytelling in Everyday Language Fosters Relatability and Accessibility for Writers

WA: TELL US ALL ABOUT YOUR WRITING BACKGROUND-WHAT YOU’VE WRITTEN, WHAT YOU’RE CURRENTLY WRITING.
SESAN: I started writing poetry as a teen. I was influenced by the collections of Niyi Osundare’s Village voices, Songs of the market place and Seize the day at age 9 or there about before trying my hands on drama and prose fiction. As a young boy growing up in an elitist environment, my parents were high school teachers who imbibed in me the habits of reading which would help me in life. At a very young age, I was exposed to the works of the leading psychoanalysts such as Sigmund Freud, Carl Jung and others. I must confess. I do not understand what I read, curiosity only made me. I knew nothing about psychoanalysis at the time. I found the books in my mother’s wardrobes. Later on, I picked special interests in the works of Jared Angira, Christopher Okigbo(which I would be a recipient of the award), Dennis Brutus, Ola Rotimi, Athol Fugard, Femi Osofisan, Kofi Awonor ,and others with the European counterparts as Edmund Spenser, Robert Browning, Christopher Marlow, George Elliot, T. S Elliot, Andrew Marvel, William Shakespeare, Edgar Allen Poe and others which I read with keen interest from my brother’s catalogues of prescribed literary texts for his college studies. These writings of the      great literary masters shaped me even at 16. I could remember writing poems for the school press club. The first poem I wrote was The School has Closed and was published in the school press board through the help of my Literature teacher Mr. Akaba .This poem stirred reactions both among the students and teachers which would bring me to the notice of the school principal Mrs.  Victoria Adedeji and requested the presence of my parents in the school the following day. The principal was impressed because the poem dealt with serious issues the school management was addressing as at the time. The school was addressing the issues of vernacular which was rampant among the students both within and outside the school premises. This would also bring me to the notice of the school proprietor, Emperor Dele Ayoade and a sought for among the school teachers.  I wrote some other poems for the school press club which was despising the Professional Teachers, Prophet of Doom, Echoes of the day etc which would not survive as a book or collections. I participated in the school drama club and wrote plays for the club. I could remember my first play was The Fluster; and was staged at the end of the school party. I wrote more plays such as The Yonder of Death, Riders to the Pitchetc and a prose fiction The River Boy which would not survive. I was working hard because my dream was to be a Soyinka and a world acclaim writer someday. I avoid all forms of social engagement and would lock up myself reading and writing. In 2008, something happened. I lost my mother. I was 18. Out of grief, I burnt all my manuscripts and sprinkled the ashes on my mother’s grave. I must confess, that was the genesis of my problem. I don’t need to be told that something was wrong. Same year, I was admitted to the Department of Theatre Arts, University of Ibadan to study Theatre Arts. After the usual rites of initiation (it is a form of induction and I think the Thespian would understand this better), I knew I was in for serious business. I picked up the broken pieces of my life and wrote another play Long Heavenwhich centers on the subject of religion hypocrisy and Catholicism. My friends and course mates Mr. Adejare Adebayo Micheal who would be a renowned Nigerian actor, director and Juju music maestro, Mr. Mustapha Ridwan who was trying his hands on rap music as at the time and Miss. Pat Obilor who would be a renowned media personality told me to give the manuscript to Professor Mathew Umukoro who was then a doctor for his possible suggestions and advice. When Professor Umukoro read the script, he wrote his suggestions in a fiscal sheet of paper and attached it to the manuscript.  His suggestion reads thus:
“Dear Sesan, I read your work. You are not yet a T.S Elliot or William Shakespeare, why would you write in this style. Your style has given in for much of confusion which would pose a lot of threats to literary scholarship. I do not encourage any publisher to publish this”
I was discouraged and I told Adejare who would encourage me to keep my head up and never to experiment with poetical drama again. I know I have to work hard.
Fast forward from 2008, a lot happened which shaped my writing. I was in and out of the hospital. in 2013, after recovering from a manic episode, I wrote a collection of poems titled Poems of Metaphysics and was published on Amazon as an e-book after a research interest in metaphysical poetry.
In 2015, I wrote and produced a play on the 2015 Nigeria general election titled Naira and Kobo and was experimentally performed at the Department of Theatre Arts, University of Ibadan. It was directed by Mr. Adeyemi Usman and had in attendance Dr. Soji Cole (playwright and theatre scholar who would win the NLNG prize for literature for his play Embers), Dr. Bimbo Benson(speech instructor and scholar), Dr.Samson Akapo (dance scholar) among other notable scholars. Their presence was to provide possible suggestions to improve the play and make it a global standard. The theme raised at the time was timely. The play focuses on the illicit acts of the former president Goodluck Johanthan who went around with Dollars and Nairas for his second term agenda. This eventually led to his downfall.
In 2017, I wrote and published a collection of poems titled Tomorrow, At Sunrise. The collection was well received by art enthusiasts and a subject of literary scholarship. Same year, my latest play as at the time The Trials of Orisa  was performed for a theatre workshop at the Department of Languages and Linguistics, Osun State University, Ikire campus along with Ahmed Yerima’s Otaelo. The play and performance received acclaim both from the Departmental head (Professor Rotimi Fasan) and Provost of the College (I am losing thought of his names now) who were parts of the audience alongside other notable academia, literary scholars and students. The feats did not only stop there, the students of English and literary studies were examined on the play for their LIT 207 second semester examination. And to my surprise, a student made his final year thesis on the performance of the play. Over time, the play was performed in nearly major cities in the south west such as Abeokuta, Osun, Ibadan and elsewhere. The Ibadan performance took a different dimension with a new directorial approach of Mr. Adejare Adebayo Micheal who was then the director of the 2018 production at the Wole Soyinka Theatre, University of Ibadan. The last days of the performance was greeted by an eminent professor and foremost Nigerian playwright and theatre scholar Emeritus Professor Femi Osofisan who commended both the playwright and director. He was impressed and encouraged me with an envelope as well as provided valid suggestions that have improved the play over time. Also, at the performance was another brilliant and foremost Nigeria Theatre director and scholar Dr. Tunde Awosanmi, and a personal assistant to the Nobel Laureate Professor Wole Soyinka. He also made a valid contribution that has made the play a subject of discussion over time.
In 2022, I published a collection of poems titled The Grief of Anibala. The collection focuses on the themes of pain and pang of loneliness, the struggle with self, conflict with the psyche, a fight with terror and the struggle to end mental health stigma. The collection was widely accepted both by art enthusiasts and medical professionals in the field of psychiatry medicine. I received commendation from Professor Oyewusi Gureje, foremost retired Nigerian professor of psychiatry at the University college, Dr. Yetunde  Adeniyi, a psychiatrist in the field of child and adolescent psychiatry and other notable Nigerian Psychiatrists. I don’t need to bore you any more. Currently, I am working on two writing projects simultaneously. The first one is a play which I titled Mask. The play addresses national issues from politics to terrorism, murder to police brutality. I have completed the first draft, it will soon be staged. The second is a prose fiction which unravels the life and activities of sex workers and cyber fraudsters. I have not settled with a title but I might end up with The Speaking Bedroom.

WA: WHAT EXCITES YOU ABOUT A PIECE OF WRITING?
SESAN:  Language, fluidity or simplicity of language and the style of storytelling. The time of obscurantism is gone. In my opinion, a writer should be accessible and should be able to relate with his audience with good storytelling in everyday common language. I think this has made Chinua Achebe, Olarotimi, Niyi Osundare, Chinmamada Adieche,   Femi Osofisan, a canon of their own rights.

WA: WHO ARE YOUR FAVORITE WRITERS AND WHY?
SESAN: I don’t have a favorite writer. I am an avid reader. I read every writer that crosses my path. But I appreciate the styles of Wilkie Collins, William Alabaster, Edgar Allen Poe, J.M Synge, Femi Osofisan,  Niyi Osundare, Tares Oburum, Thornton Wilder, D.H Lawrence, Margaret Atwood and some others I am losing thoughts of at the moment. These writers are good storytellers with a good command of language.

WA:  WHAT ADVICE WOULD YOU GIVE TO A NEW WRITER STARTING OUT?
SESAN:   Read, writing is not a joke but a serious business. There is a place of talent and hard work. I would disagree with this common saying that writers are born and not made. A writer is both born and made. To be good at it, you have to be a good reader. So, read and read. Write and write as often as possible. Every great writer started out as an apprentice, what I meant by apprentice is that they started out as an amateur. Don’t be discouraged by your first draft. With time, everything gets better.

WA:  WHAT INSPIRES YOU TO WRITE?
SESAN: Pain, anxiety, loss, anger, frustration, depression and other social vices. Writing has been a means of therapy and escape for me. My great poetry collection which has been a subject of literary scholarship was borne out of grief, loss and anger.

WA: DO YOU HAVE A WRITING ROUTINE? A PLACE THAT’S SPECIAL?
SESAN: I do not have a writing routine. Writing comes to me anywhere and anyhow. I could remember of late, I was helping my wife with some chores in the kitchen. I get inspired by the steaming of a beef sauce on a stove gas. I excused myself and wrote. I could remember my poem Lust in my second collection published in 2017 came to me at Wole Soyinka’s residence in 2016 at the gathering of writers. I wrote the poem in the midst of distractions and read to other writers who made necessary inputs. I have many similar instances like this which I might not be able to mention all. And when it comes in odd places like in transit, Cinema, or elsewhere, I quickly scribble it on my phone’s notepad.

WA: HOW, WHEN AND WHY DID YOU FIRST START WRITING?
SESAN: I think I have answered this question earlier in your first question. I started writing as a teen after I was influenced by the works of Niyi Osundare and others whom I read in the catalogue of my brother’s prescribed literary texts for his college studies. And I write for the three ‘F ’which are fame, fun, and fortune, as well as for escape and therapy.

WA: WHAT WAS THE FIRST PIECE YOU EVER HAD PUBLISHED?
SESAN: I think I have answered this too. But for clarity, my first ever published piece was Poems of Metaphysics on Amazon published in 2013 after a phase of manic episode.

WA: DO YOU ADDRESS PARTICULAR THEMES OR ISSUES IN YOUR WRITING?
SESAN: Yes, the country is hard now. Every writer is a writer in Politics as Ngugi Wa thogo rightly said. Writer should be the voice of the nation subdued by broken promises. I address the issues of politics, culture and medicine in most of my writings. The areas of medicine I mostly write about is mental health using my crafts to promote sanitization and awareness rather than stigma. And this I have been doing for awhile as a writer who is so keen about medical humanities.

WA: HOW DID YOU FEEL WHEN YOU FIRST STARTED SENDING YOUR WRITING OUT INTO THE WORLD?
SESAN: At first, I felt nervous, curious and uneasy. Later, I felt cool, calm and collected.

WA: WHERE DO YOU GET YOUR IDEAS FROM?
SESAN: I get my ideas from people, nature, books, society and from personal observations.

WA: HOW DID YOU GET YOUR PUBLISHER?
SESAN: From recommendations here and there.

WA:  TELL US WHAT KIND OF RESPONSES YOU GET FROM AUDIENCES/ERS?
SESAN: Positive and encouraging responses and reactions especially with the latest collection The Grief of Anibala. At every reading engagement, people get thrilled. And these positive responses encourage me to do more and better.

WA: HOW CAN PEOPLE FIND OUT MORE ABOUT YOU?
SESAN: Presently, I am working on my website and blog. But I try to frequent facebook(Meta), whatsApp and occasionally Instagram.

WA: TIPS, TRICKS, THINGS TO PASS ON TO DEDICATED WRITER?
SESAN: Be in charge of your story. Be your own voice rather than emulate a writer’s voice and style. Every writer has a different DNA, background and exposure informs his or her writings.

WA: ANY TYPICAL/COMMON MISTAKES THAT NEW WRITERS TEND TO MAKE?
SESAN: They are too curious to be heard. This prompts them to live in another renowned writer’s illusion, and I have said earlier that every writer has a different DNA, background and exposure inform their writings. Until they understand that writing is a process, they tend to lose originality.

WA: WHICH OF YOUR BOOKS WERE THE MOST ENJOYABLE TO WRITE?
SESAN: I always feel connected to all my writings because it is a means of self-expression and escape. I have enjoyed all the writing process of all my books because the hunch came to me like tender dew on a foliage and stayed till the end.

WA: TELL US ABOUT YOUR FIRST PUBLISHED BOOK? WHAT WAS THE JOURNEY LIKE?
SESAN: Poems of metaphysics was published on Amazon in 2013. I wrote the poem after a manic episode. I was curious about life beyond a popular definition as at the time. And reflected on three poetic experiences of the metaphysical poets which are love, God, and death. The collection questioned these crucial themes in richness of form deep-rooted in a living tradition. The writing journey was adventurous. I enjoyed every bit of it. The publication was awesome and announced it to the global audience.

WA:  WHAT IS THE KEY THEME AND /OR MESSAGE IN THE BOOK?
SESAN: Anybody who is familiar with metaphysical poetry would understand that the metaphysical poets predominately write on the subjects of love, God and death. They dragged women down to the beggar’s floor of their tradition as well as questioned God and ridiculed death. All these similar themes are found in the book with new touch of originality and a deviation from the old order

WA: WHERE CAN WE FIND YOU ONLINE?
SESAN: I am not a social media person. But I try to frequent Facebook(Meta ), WhatsAPP, and occasionally Instagram. I can be contacted through akinolasesan123@gmail.com

AKINOLA SESAN, a seasoned writer and former contributor to Tuck Magazine, stands out as an award-winning Nigerian Poet, Performing playwright, literary critic and a staunch mental health advocate. He has actively contributed to the works of renowned figures in Nigerian artistic scene, including collaborations with folk artist and writer Segun Akinlolu (Beautiful Nubian), Femi Osofisan, Olarotimi, Ahmed Yerima, Wole Soyinka, Esiaba Irobi, and Indian Poet and professor Ujjwala Kakarla, notably on the book Manifold Visions of self.
Akinola Sesan’s poems and works have found their way into anthologies in Zimbabwe, Angola, Iran, India and other global destinations. Recently, his inclusion in the anthology ‘’Love is a Divine Fragrance’, a collection of world poetry on gender issues, marked another milestone. He was one of 64 poets selected from 24 countries for this notable publication based in India. Residing in Ibadan, Nigeria, he shares his life with his wife, Tosin Oluwabunmi (God’s gift), making an impact not only through his literary commitments to advocacy and creative expressions.