‘Why our debut anthology needs Plateau-inspired stories’

Bookshelf: You are co-founder of a fresh literary platform called Plateau State Authors’ Group (PLASAG) which recently invited entries of short stories for its debut anthology. What triggered the establishment of the society?  Bizuum Yadok: PLASAG, like many literary societies, was born out of a mutual ideology among its members. That is the passion to […]

Bookshelf: You are co-founder of a fresh literary platform called Plateau State Authors’ Group (PLASAG) which recently invited entries of short stories for its debut anthology. What triggered the establishment of the society? 

Bizuum Yadok: PLASAG, like many literary societies, was born out of a mutual ideology among its members. That is the passion to project Plateau State, Jos in particular, as a foremost literary hub. When many of us discovered we could write, we had the challenge of mentorship, so we were compelled to cross-fertilize ideas about the art. Back in the days, we used to read books written by Plateau people such as General Domkat Bali, Chief Anthony Goyol, Dr. Gabriel G. Yiltoka, Mrs. Esther Bali and Professor Dul Johnson, to name a few, but as we grew up, we discovered that a network which would have created a solid foundation for us as younger writers, was lacking. 

Admittedly, Association of Nigerian Authors, (ANA), has been there, yet we were driven by the need to create a more locally specific literary society and by so doing, expand the literary spectrum of the state. You know, if you want to change the world, you need to think globally and act locally. Additionally, we felt that we should create a network of writers to promote, as well as to critique our writings. Within a few months we had an online membership of over seventy members and in December 2014, we began meeting at different locations in Jos. Since then, we have been able to host and also collaborate on a number of literary events in and around Jos. Most of our members are based in Plateau State, others are scattered across the country, while some are faraway in South Africa, UK and the US, but we manage to connect. Our membership cuts across professions, religious affiliations or linguistic ties and we aim to create an atmosphere of peace and tolerance through the art of writing.

Bookshelf: The Anthology is themed ‘JOSTICE’. Why so? 

Yadok: Jos has been an object of the poet’s pun. Plateau people are very creative. They know how the name ‘Jos’ attracts people and visitors as much as it evokes fond memories of the city. They therefore coin brands like ‘Jostified’, ‘Joschilling’ ‘Jos Rock’ and so on in order to gather popular support. In this regard, ‘JOSTICE’ is not out of the norm, but beyond that it is a subtle call for justice in the portrayal of the city, and by extension, the whole state. Ever since September 7, 2001, Jos has continually appeared in different media for the wrong reasons. It is most times contiguous with bloodshed, crises and all what not. Somehow, the September 7 impression has eclipsed the erstwhile glamour that enshrouded Jos. 

Bookshelf: Eligible writers for the collection must be ‘citizens of Plateau, born in Plateau State, or domiciled in Plateau State for a minimum of ten years,’ your website reads. Why these limitations?

Yadok: Yes, I know our scope is narrow, but we seek to achieve a goal. We want Plateau people to read stories they can readily relate with. Stories that are more objective and less stereotypical and also stories that will project Plateau in good light. There are different literary prizes that have geographical limitations, although more vast regions are considered, such as the Caine Prize, Etisalat Prize, The Commonwealth Prize, NLNG Prize and ANA prize, not to talk of anthologies that are restricted to Africa, West Africa, Nigeria and so on which have similar criteria. Would you think that these limitations impede their global impact? In any case, if we want to reflect a true image of Plateau, so we can’t trust those who have no connection with the state to do the job for us. We have Fulanis, Igbos, Urhobos, Yorubas and many others who have no other place to call home apart from Plateau. I have read stories that that attempt to construct a northern environment solely on the basis of imagination, but fail to connect the northerner with his environment and likewise for a northern writer writing on the south. This is a situation we would like to avoid, hence the limitation. 

Bookshelf: What if an entry is received from someone who has been to the state a number of times, hasn’t really lived there, yet is able to capture the life? 

Yadok: We will have no choice but to accept such an entry, of course. May I add that we have no way of ascertaining the contributing author’s place of birth, duration of stay in Plateau State or whether he is a citizen of the state or not. More so, entrants are not required to attach any form of identity to their story. Our concern is to have authentic stories that are unbiased. 

Bookshelf: There’s a N5, 000 publication fee when a writer’s entry is accepted. Why does PLASAG insist on a fee? Wouldn’t this discourage entrants?

Yadok: The money will not only discourage entrants who really have love for writing. Looking at our economy today, N5, 000 has lost much of its value. Let me clarify here that the money will only service a small part of the publication process. Precisely, it will be given to professionals who will edit the manuscripts and offer useful suggestions. These professionals will be hired from different place, some from different countries, in order to ensure objectivity. I think participants should be more concerned about the acceptability of their work, rather than the token they will be required to give as publication fee. As a matter of fact, the amount may not reach the press. We have taken the responsibility to scout for funds that will enable the publication of at least one thousand copies for starters, which will subsequently be launched sometime within the year. Half of whatever accrues would be shared among the authors, while the other half remains in the coffers of the association. In other words, the N5000 is more like an investment for the entrants. We are optimistic that each entrant has a good chance of getting back his money.

Bookshelf: Plateau State is known for its beehive of talented youth, yet writing hasn’t competed favourably with other art forms there. What do you have to say about that?

Yadok: You see, Plateau is more like a launching pad for many artists-Nollywood stars, musicians, producers, visual artists, poets, fashion designers and so on. But once they make it out of Plateau, they hardly come back. The good news is that Plateau is still in the business of churning out promising artistes for Nigeria and the world. Admittedly, it has only produced few but very promising writers like Abubakar Adam Ibrahim, Despan Kwardem, Dul Johnson, D.E Kaze, Lengshak Gomwalk, Redzie Jugo, Lulufa Vongtau, Richard Ali, David Onotu, Longrin Wetten, Davidson Lar, Nenpan Monday, Awal Gowal, Eric Pam, Gideon Dashe, Victor Meshak, and Victor Panmak, and has partly nurtured others like Toni Khan, Helon Habila, Kanchana Ugbabe, Chukwuemeka Ike among others. As it is, Abuja and Niger seem to be favourite destinations for writers, but Jos has propensity to overtake them if only the government can invest more in education and literary events. 

Bookshelf: What is the overall aim of the anthology?

Yadok: The overall aim of the anthology is for readers to see Plateau and its people from a different and more appreciable perspective. In so doing, we hope to contribute our quota to the ongoing peace-building process and harmonious coexistence of people living in Plateau, regardless of their race, religion or place of origin.

Bookshelf: You have a published novel ‘King of the Jungle’ and a collection of poetry ‘Echoes of the Plateau’. How will you describe your journey as a writer?

Yadok: My journey so far has been quite exciting and rewarding, but that is not to say I haven’t gone through the ‘hell’ of writing. I have managed to survive bouts of depression owing to destructive criticisms and blatant disregard for books which I have spent precious time writing. However, I choose to cherish the better part of my journey so far as a writer. I like to see myself as a moving train, picking up speed along the track. These books have opened doors that I never thought would be opened for me. I have learnt a lot, mostly from my mistakes, since I wrote those two books. Even at that, the books have received interesting reviews from newspapers, blogs, and magazines across the country. Moreover, the novel ‘King of the Jungle’ has received recommendations as part of the reading list of not less than four universities in Northern Nigeria. This is beside the few who have chosen to treat the novel for their Bachelor projects and Master degree dissertation. That, to me, is very humbling. But what I find most humbling are the instances when a young person will run up to me and say “you have written one of the most interesting books I have ever read” or when I receive a call or email with a similar statement. I have interacted with many more writers since I wrote my books and participated in many literary functions. I think I can safely say my journey as a writer is being marked with a few achievements at intervals. I used to fantasize about receiving a literary award, which would boost my writing. However, lately, I think I’m more obsessed with writing whatever is impressed on my mind regardless of its political correctness or tendency to woo the literati. I press forward with greater optimism. In any case, what I have learnt most in writing so far is dealing with publishers. I will strongly advise any upcoming writer to do a thorough background check on any publishing house before he signs any document. Writers should be very wary of some international publishers who are out to cheat writers.

Bookshelf: Presently, the huge amount of money involved in publishing books is affecting the career of many upcoming writers. How do you view this development?

Yadok: It is a sad development. I have met some people with beautiful manuscripts who have been unable to publish for dearth of funds. In my own case, I had to borrow from a cooperative society in order to finance the publication of my two books. Thank God I have been able to pay back, but what about writers who do not have access to loan facilities or relatives and friends who believe in the quality of their writing? So in the end, one who can afford the best consultancy and publishing, stands a greater chance of becoming a more acclaimed writer than one unable to afford such services. Actually, the lack of money to publish our works was partly one of the reasons that informed our establishment of PLASAG so we can help members access funds from the government and philanthropists in order to help budding writers achieve their dreams.

Bookshelf: Does PLASAG have a vision of becoming a full-fledged publishing company?

Yadok: Yes it does, but that is not our main objective. Already we are partnering with nHUB, a leading software company in northern Nigeria, to venture into e-publishing so that our works can be accessed globally and royalties can be remitted directly into the authors’ account and in naira. A full-fledged company will demand more money, expertise and time, which, I must confess, we do not have.

Bookshelf: ‘King of the Jungle’ has received more attention than your poetry ‘Echoes of the Plateau.’ Why is that so? Do you think prose receives more attention, generally, than poetry?

Yadok: It is very easy to sample readers’ response to prose and poetry. As a teacher, I have always observed students’ bias to prose as against poetry. Even when people bought my books, they quickly chose the novel and most times neglect the poetry. I have tried to simplify my poetry, but still the general perception of poetry drives readers away from it. Ironically, even literary critics prefer to flip through the 268 pages of my novel than to read the poetry and analyse it. 

Bookshelf: How has your experience as a classroom teacher impacted your writing?

Yadok: What many people do not understand is that a classroom is also a pot of many untold stories, especially once you get up-close and personal with some of your students. Also, the classroom could be an avenue for one to elicit instant feedback on what he or she is working on. You might give a synopsis and then stand back to take in their reaction. Also, being a teacher especially that of African Literature, I get to read many texts and it builds my experience as a writer. You can’t teach what you have not read. Engaging in discussions with your students sometimes offers useful ideas and perspectives which one might have not pondered on or have overlooked.