By Damiete Braide
Olatunbosun Taofeek’s name may already be familiar to some as a playwright, but his latest work, The Children at the IDP Camp, earned him another place on the longlist for the 2024 the Nigeria Prize for Literature. Crossing from one genre to another may seem like an impossible feat for some writers, but for Taofeek, it’s simply a matter of literary craftsmanship. “As an apprentice in the school of creative writing,” he explains, “I should be able to do that.”
Taofeek’s confidence in moving between genres stems from years of training, both formal and informal. He rejects the notion of being what he calls a “mogbomoya” writer, a term he uses to describe those who stumble into writing without proper preparation.
For him, writing is a deliberate and evolving craft. “This is what I have been trained to do,” he says, “like an expert who has made all necessary mistakes and is ready to make more to keep gaining knowledge.”
To Taofeek, the transition from drama to children’s literature is not a drastic change but a shift in structure and form. His guiding principle remains consistent: the message is always paramount. Whether writing for the stage or for children, he believes the writer’s first responsibility is to the content.
“What message do you have as a writer?” he asks, emphasizing that once the message is clear, the choice of form, be it drama, prose, or poetry, follows naturally. “To me, whether drama or prose, children’s literature or adult, these are structural matters.”
Despite the structural differences, Taofeek remains steadfast in his approach. He sees all writing as a process of relentless practice, where each attempt builds on the last. The key to his success lies in his willingness to master any genre, never losing sight of his core message: to inspire change and foster understanding through storytelling.
In just a year since his last nomination for the Nigerian Prize for Literature, Taofeek returned to the longlist, this time with a work that centres around the resilience of children in internally displaced persons (IDP) camps.
When asked about the concluded book party, he is of the opinion that authors should be given more time to express themselves, and that the event should focus more on their work rather than unnecessary distractions.
“The party should revolve around the authors and their books,” he insists, calling for a more intellectual engagement between writers and readers. To him, the role of the moderator is crucial. “The chosen moderator should be a seasoned and mature presenter,” he says, adding that they should read the books in question and ask specific, thought-provoking questions. “Questions like, ‘What inspired you?’ are too pedestrian,” he continues. “Such flat and generalized questions only expose the moderator’s lack of familiarity with the work.”
Taofeek’s passion for storytelling and his desire to inspire others is at the heart of his latest work, The Children at the IDP Camp. In this story, Taofeek introduces readers to his hero, Danlami, a child living in one of Nigeria’s many IDP camps. These camps, often marked by trauma and despair, serve as a harsh reminder of the ongoing conflicts that displace thousands of Nigerians each year. For Taofeek, the plight of children in these camps is not just a story, it’s a call to action.
“Plant kindness in the hearts of children so they don’t become the monsters that will destroy our world,” he urges. He believes that the way society treats its children, particularly those in vulnerable situations, will determine the future. “Life is GIGO – garbage in, garbage out. We are all the products of what we are made of,” he explains. Taofeek sees children’s literature as an essential tool for shaping young minds, calling it “psyche engineering,” a way to instill ideals and values in children that will guide them throughout their lives.
Through Danlami’s story, Taofeek hopes to inspire change in the lives of children who are often forgotten, neglected, and left to grow up in bitterness. Danlami, though young, is driven by a heroic desire to uplift other children in the camp, a reflection of Taofeek’s own belief that even in the most challenging circumstances, there is hope for change.
Taofeek is pragmatic about the realities of IDP camps, acknowledging that they may be inevitable in a world fraught with crises. “Just like everyone that is born is old enough to die, anywhere you have human beings in their thousands, there must be crises,” he says.
However, he stresses the importance of how society manages these crises, particularly when it comes to children. “If those of us that are not in IDP camps don’t look at them or find a way out for them, they will grow with that anger and come and kill our children in the future.”
For Taofeek, the solution lies in providing these children with opportunities, privileges and a sense of belonging. He calls for government intervention, urging leaders to sponsor legislation that protects the rights of children in IDP camps and orphanages. “They are living dynamite growing in bitterness and grief,” he warns. “If they grow up like that, the world will be paid in the same coin.”
Although The Children at the IDP Camp is his first published children’s book, Taofeek has been writing for children for years, working on several unpublished manuscripts that are yet to see the light of day. He is not in a hurry, preferring to give each work the time and attention it needs before releasing it to the world.
His upcoming works, including Tales from My Grandmother and Buba Made Me the President, promise to continue his exploration of important themes in children’s literature. For him, writing is more than just a craft: it is a calling, a responsibility to shape minds, inspire change, and create a better future for the next generation.