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‘Clarity is Key.’
 Oluremi C. Onabanjo’s First Draft

Among those who write, there is a strange misconception that academics cannot write about art creatively, and that creative writers don’t have an analytical capacity. Scholar and art historian, Oluremi C. Onabanjo disagrees, and ‘in my writing, I aim to do both.’ Our questions are italicized.  What books or kinds of books did you read growing up? I was raised in Nigeria, South Africa, Tanzania, and the USA. Growing up between these different geographies and social contexts generated a rather eclectic literary taste. Books I remember being important were Gabriel Garcia Marquez’s One Hundred Years of Solitude, Toni Morrison’s The Bluest Eye, Barbara Kingsolver’s Poisonwood Bible, the poetry of Antjie Krog, and Athol Fugard, John Kani, and Winston Ntshona’s play The Island. Enid Blyton’s The Naughtiest Girl in the School was admittedly in the mix too. Like many Nigerian fathers, mine had strong belief in the power of recitation—to this day, I

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