There is a vivid sense of London in 2005 that permeates your short story. To what extent has living in London as opposed to any other place influenced your writing?

 

I’ve always found London quite a difficult city in which to live. It’s expensive and can be harsh and very fast, and I’ve never really got used to that. So, perhaps that’s reflected in the writing, along with the moments of kindness, which can take you by surprise.

 

So if there was a choice, where would be the ideal place for this world traveller to live and write?

 

I discovered long ago when I visited the US, that there is no perfect place in the world. It’s either too hot or too cold, too racist, too unstable, too expensive, too corrupt, the list goes on. Home is where you are comfortable, where your family and friends are and where you are able to live and work contentedly.

 

What’s your take on creative writing courses? Positive, negative….?

 

Used to be negative, but I’ve changed my mind as I think they afford people the chance to immerse themselves in writing for a year, with the help of experts who guide and support. No one can be taught to write – you can only do that for yourself, but it can be very important for someone who isn’t sure how to progress to receive the guidance in an atmosphere where writing and ideas are encouraged. Also, you don’t have distractions on these courses, something I’m all too familiar with at the moment. And you’re guaranteed to meet agents and editors just by being on the course – so very difficult otherwise.

 

And on literary prizes? Especially prizes for African writing endowed and judged in London?

 

Well, I always thought that prizes were unfair (and still do) because they heap attention on one particular person while excluding a vast array of writing that is equally deserving. Now that I’ve won a prize the sentiment still holds – I’m grateful, but at the same time I feel for the other candidates, both shortlisted and longlisted, because everyone wants to progress in their careers and a prize offers that hope.

 

But prizes do help to focus attention on writing, which is a good thing. Once people know there are more places where they can submit work, then that’s an achievement. Someone sent an email saying, “I can write a better story than that Afolabi.” Now that it’s triggered some kind of debate and they know where to send stories then that’s all to the good.

 

Also, there should be more literary prizes in African countries – they don’t have to offer silly money, just the recognition of various forms of writing, from short stories and travel writing to non-fiction and novels. I’d love to see Africans writing about Africa more objectively. So many of the books available are by Westerners – Paul Theroux, Alexander McCall Smith, Karl Maier, Robert Guest... We shouldn’t be comfortable with always being written about.

  

What does the future hold for Segun Afolabi?

 

Well, there’s the short story collection coming out in April 2006, and then a novel in April 2007. I’m working on a new novel at the moment (hence the year off). After that, we’ll just have to wait and see.

 

 Segun Afolabi is the winner of the 2005 Caine Prize for African Writing. He has a short story collection, A Life Elsewhere, and a novel, Goodbye Lucille, coming out in April 2006 and April 2007 respectively. He is published by Jonathan Cape. Ike Anya is a Nigerian doctor and writer currently based in the UK.