The Man Beyond the Pen: An Archival Conversation with Dr. Usman Oladipo Akanbi

January 26, 2026 TWF Editor 0 Comments

Titles announce authority, but they rarely tell the whole story. In this intimate archival conversation, Dr. Usman Oladipo Akanbi, President of the Association of Nigerian Authors (ANA), scholar, policy thinker and public intellectual, steps beyond office and ornament to speak as a man shaped by discipline, community, and an abiding faith in the moral force of words.

In a wide-ranging exchange with AbdulHafeez Oyewole, Dr. Akanbi bares the inner architecture of his life: a Spartan childhood under an incorruptible judge, the quiet strength of maternal influence, the moment writing revealed itself as both calling and instrument of change. He reflects with candour on fear and hope, on literature as witness and resistance, and on the uneasy labour of leading Nigeria’s foremost writers’ body in a time of national strain.

Moving seamlessly across literature, leadership, agriculture, public policy, civic responsibility and global power shifts, this conversation captures a thinker alert to his moment and conscious of posterity. It is less a defence of achievement than a meditation on duty- on what it means to write, to lead, and to remain humane in a world increasingly hostile to truth.

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The Man Beyond the Titles (For Posterity)

1. Before we speak of offices held and honours earned, let us return to origins. What are the aspects of Usman Oladipo Akanbi that the public rarely encounters, those inner convictions, private struggles or formative experiences, that you believe history ought to know about you?

Well, I come from a family that values education and community service. Growing up with my late Dad was quite tough. He was a strict disciplinarian who brought us up in a Spartan way.

We lived on whatever meagre income accrued to him; being an incorruptible judge meant that he lived within his means, And what's more? He bullied his family to conform to his standard, and none dared confront him for whatever reason.

But then, he taught us some invaluable lessons that have endured with us till date; particularly regarding me, I learnt to be content with whatever Allah bestows upon me.

As a family man, my dad was deeply rooted in his community, and I believe that also helped shape my perspective on the importance of social responsibility, hence impacted on the various roles I later played in life too.

However, I must not fail to mention that my greatest influence in all my accomplishments in life remains my late mother.

2. Looking back across your journey, from the classroom to public discourse, from the literary space to national leadership, which moment most profoundly altered the trajectory of your life, and why?

For me, it was when I realised the power of writing to inspire change. I was involved in various rural/community development projects, and way back I faced resistance from some quarters. But through sheer determination, I engaged with the community, and was able to shift the narrative and bring about positive change.

No doubt, those experiences stayed with me and shaped my approach to writing and public discourse.

3. Every serious thinker has a silent fear and a stubborn hope. What is the greatest fear that has shadowed your intellectual journey, and what hope has refused to die?

My greatest fear is the erosion of critical thinking and the rise of misinformation, particularly, in a world where social media can amplify falsehoods. I worry about the impact on our collective future.

But my hope is that, we can build a more informed, empathetic, and just society, where writers and thinkers can contribute to positive change.

4. If your younger self were seated across from you today, what hard truth would you insist he accepts, even if it unsettles him?

I would tell him to be more patient, to listen more, and to prioritise relationships over achievements.

I think we often get caught up in the rat race and forget what's truly important.

I would advise him to take time to reflect, to nurture his relationships, and to stay true to himself.

Literature as Calling, Weapon and Witness

5. Literature in Nigeria has often been both a mirror and a machete, reflecting society while cutting through falsehood. How do you personally conceive the moral responsibility of the Nigerian writer in this era?

As writers, we have a moral responsibility to speak truth to power, challenge injustices, and amplify marginalised voices.

We must use our platforms to promote empathy, understanding, and social justice.

That's what literature is all about – using the power of words to shape our world.

6. Your body of work straddles creative writing, social commentary and policy analysis. Do you see yourself first as a writer who analyses policy, or a policy thinker who writes creatively, or is that distinction false?

For me, writing is a way to analyse and address societal issues. I don't see myself as just a writer or a policy thinker – I am a writer who uses various forms to engage with the world. The boundaries between genres are blurred, and I think that's where the most interesting conversations happen.

It is interesting that my primary calling- agriculture, and my passion- literature, both play significant roles in shaping my perspectives. I teach project planning and implementation and of course, policy and development under agriculture in the university.

Having an inclination towards the literary sphere offers me the platform to aerate my views to a broader public.

7. Which of your literary works best captures your philosophical essence, and which one do you believe remains most misunderstood?

That's a tough one! But I think my works in this regard are these two: "Midlife memoirs: Connecting with my past", prose and "Verdant Verses", a poetry collection.

They both capture my concerns about social justice, inequality, and the human condition.

But I guess some readers might misinterpret my intentions. That's the risk we take as writers!

8. Nigerian literature has produced giants whose pens unsettled empires and governments. Do you believe contemporary Nigerian writers have lost some of that radical courage, or has resistance merely changed form?

I don't think contemporary writers have lost courage; I think they have adapted their resistance strategies, particularly, when those they currently face were at a time their fellow comrades who are now active in the political realm.

We are facing different challenges now, and writers are finding new ways to engage, challenge, and subvert. The pen is still mighty, and I still aver that Nigerian writers are using it to shape our world.

Academia, Agriculture and Public Policy

9. As a lecturer in Agriculture, a field often perceived as distant from literature, how has your academic discipline shaped your worldview as a writer and public intellectual?

Like I earlier mentioned, my background in Agriculture has given me a unique perspective on various aspects of human endeavour like food security, climate change, and rural development - many thanks to my mentor in this regard: Professor Abayomi Omotesho, former Deputy Vice Chancellor Academic at the University of Ilorin. As a writer, I have been able to explore these issues in a way that's accessible to a broader audience. It's a fascinating intersection of disciplines!

It was while I was the Relationship Manager Agriculture and Food, in charge of Kwara, Niger and the Federal Capital Territory, Abuja with the First Bank of Nigeria PLC, that I began to pen down my experiences on the field, thereby adopting the story telling strategy to express my thoughts.

Good enough, a close acquaintance introduced me to the Association of Nigerian Authors, Niger State chapter around 1998, and indeed, that affiliation has been quite rewarding.

My coordination activities activities while I presided at the Kwara State Fadama Development Project was also helpful in providing insights that influenced my writings too!

10. Nigeria’s food security crisis, climate pressures and rural poverty are deepening. From your professional standpoint, where has policy failed most tragically, and what is the cost of that failure?

We have, without doubt, had stories of policy successes, but more conspicuous are policy failures, arising from oft-repeated policy summersaults, particularly in supporting small-scale farmers. We do, however, require sustainable solutions that prioritise the most vulnerable and promote agricultural development. The cost of failure is too high – we must get this right.

The incessant insecurity is the greatest threat today. What's more, we have a burgeoning class of uneducated individuals, itinerant with their begging bowls, who are readily recruited to subvert security. 

Hence, we continue to import foodstuffs that ought to have been produced domestically, owing to an inability to contain the scourge of kidnapping, banditry, and other manifestations of insurgency, variously fomented by religious zealots and ethnic jingoists.

11. Do you worry that intellectuals in Nigeria are increasingly confined to classrooms and conferences, rather than shaping real policy outcomes?

Of course, I worry that we are often marginalised or co-opted. But I believe intellectuals have a critical role to play in shaping national discourse. We must stay engaged, challenge power, and promote critical thinking.

The ANA Presidency and the Question of Leadership

12. Your re-election as President of the Association of Nigerian Authors was widely interpreted as a vote of confidence. How did that process unfold, and what do you believe made your leadership worthy of renewal?

I am humbled by the trust members have placed in me. I believe my leadership has been about promoting reconciliation after a long drawn battle among ANA members post 2015 and 2019 Association's elections.

Gradually, we improved upon relationships, initiated programmes that promoted literary excellence and social engagement like the ANA book party and literary bootcamp camps; we also strengthened existing programmes like Mbari quarterly discourse event, the Yusuf Ali Literary Awareness Campaign and the annual convention programmes.

We also collaborated with the Pan African Writers Association through the indefatigable Secretary General Dr. Wale Okediran and of course, the collaboration with President of the World Organization Of Writers (WOW) Ms Margarita Almukhametova. The collaboration effort was further boosted with Abuja being declared UNESCO's city of literature for 2026. All these wouldn't have been possible but for the support of the generality of ANA members.

I am particularly indebted in this regard to Emeritus Professor Femi Osofisan, Chairman ANA Board of Trustees; Emeritus Professor Olu Obafemi, Chairman College of Fellows, and of course the appointed Developer for the Mamman Vatsa Writers Village, Col. K. K. Shaw. On the list of influencers are also past presidents of the association upon whose legacies, I have been building upon. I am certainly committed to continuing this work that has been assigned to me on trust!

13. Leadership often reveals more critics than admirers. What were the most difficult moments of your first tenure, and how did they test your convictions?

There have been challenging moments, particularly navigating conflicting opinions within ANA. There are however some persons who tried to undermine me during my first tenure of office but thanks to the unflinching support of my executive council members, I was able to overcome them. More importantly, I tried to stay true to my values and prioritise the needs of our members.

14. In clear terms, what is your vision for ANA in the next phase- institutionally, creatively and globally?

I envision ANA as a vibrant, inclusive community that promotes literary excellence, advocates for writers' rights, and engages with the broader society. We must be a voice for social justice and a champion of Nigerian literature.

15. How do you intend to protect the welfare, dignity and economic survival of writers, particularly younger and emerging voices?

Our first task on assumption of office was to stabilise ANA, coming after a long period of altercations, here and there. So far, we have succeeded, in exception of a former presidential aspirant of the association, who took us to court and is requesting for a settlement of five hundred million naira! Notwithstanding this, I am working on initiatives to improve writers' lot, as best as we can, particularly, in areas of writers' works visibility and advocacy for better royalties. We must recognise the value of creative work and support our writers.

16. ANA has historically been a moral compass in Nigeria’s cultural life. How do you intend to ensure it remains relevant, fearless and financially sustainable?

We will continue to be a voice for social justice, promoting critical thinking and challenging injustices. Thankfully the land bestowed on us by late Mamman Vatsa has metamorphosed into an elaborate facility that will no doubt continue to aid the association's financial stability and its sustainability.

Writers, Survival and Nigeria’s Tax Reforms

17. Nigeria’s evolving tax reforms have generated intense debate. From your policy lens, what do these reforms mean for ordinary Nigerians, particularly those in the creative and intellectual economy?

We are certainly concerned about the impact on not just creative professionals but Nigerians as a whole. We have made a public advocacy through press releases in this regard. We however need more nuanced policies that recognise the unique realities of creative labour too.

18. Writers often earn irregular incomes, royalties and freelance payments. Do current tax frameworks recognise the peculiar realities of creative labour, or do they inadvertently punish it?

Exactly! Current tax frameworks often overlook the peculiarities of creative work. We need fairness and flexibility.

19. Should writers and creative professionals be granted special tax considerations, and if so, how can this be ethically justified within national revenue needs?

Yes, considering the societal value of creative work, I think special considerations are justified. We must balance national revenue needs with the need to support creative labour.

20. Has ANA engaged government on fiscal policy as it affects writers, and what outcomes should members realistically expect?

We are still struggling to get government attention, for they hardly give us audience, on like in the past. I believe two things must have been responsible for this: our recent internal squabbles; and secondly, the politicians these days often behave arrogantly towards or is it loathes writers, a contrast to what is obtainable in other serious climes that I have visited, where writers are given a pride of place.

Of course, the politicians acknowledges a few writers who they seek to befriend for ulterior motives. What we expect from any reasonable government wishing to promote its arts and culture enterprise is concrete outcomes that support creatives.

The association of Nigerian Authors, the foremost and biggest writer body on the African continent is a veritable body they should be engaged with to achieve this objective!

Nigeria, Governance and the Burden of the Moment

21. Nigeria stands at a crossroads of economic hardship, democratic anxiety and social distrust. In your assessment, what is the single most dangerous illusion Nigeria is currently living under?

Poverty is a growing menace in Nigeria, thereby engendering a concomitant proliferation of insecurity. Unfortunately, we are living with the illusion of quick fixes.

We therefore need long-term, inclusive development strategies that prioritise the most vulnerable in the society.

22. Do you believe Nigerian intellectuals have failed the nation by retreating into silence or caution, and how can that trend be reversed?

No, but we can do more. Intellectuals have a critical role in shaping national discourse. We must be more courageous, more engaged, and more committed to social justice.

23. What role should writers play in rebuilding civic trust in an era of disinformation, propaganda and shrinking civic space?

Writers should challenge disinformation, promote empathy, and contribute to informed public debate. We must use our platforms to shape our world.

Global Politics, Power Shifts and the World Order

24. The global economy is witnessing renewed protectionism, populism and ideological rivalry. What do the Trump–Venezuela dynamics reveal about power, sanctions and moral consistency in global politics?

We are seeing a shift in global politics, and Africa must adapt. We need equitable international relations, regional cooperation, and strategic engagement. Unfortunately, Mr. Trump is creating a world in which international rules and etiquettes are seriously being undermined!

25. Are we witnessing the unravelling of the post-World War II global order, or merely its mutation?

Of course! The global order is evolving, and Africa must assert its interests. We need a more just and equitable world order. Like earlier noted, Trump under America isn't helping with his new theatrics that keeps befuddling the world. When Professor Wole Soyinka warned about his monstrousness during the November 2025 Association of Nigerian Authors' convention, I was somewhat bemused but within space of a month, I became alarmed. Obviously, Prof. knew more than what we thought - America under Trump has become something else!

26. How should African nations, and African intellectuals, navigate a world increasingly shaped by economic coercion, geopolitical hypocrisy and transactional diplomacy?

We must prioritise regional cooperation, economic diversification, and strategic engagement. We must also promote African voices and perspectives.

27. What lessons should Nigeria learn from Venezuela’s economic experience, particularly in managing resources, sanctions and governance?

We must diversify our economy, strengthen institutions, and prioritise transparency. The dangers of over-reliance on oil are clear.

We must stop treating insecurity issues with kids gloves; otherwise, we will be far from the curve of changing for the better!

The Writer as Citizen of the World

28. In a globalised yet fragmented world, how does the African writer remain rooted without being provincial, and global without being alienated?

It's a delicate balance, but I think African writers must stay connected to their communities and cultures while engaging with global themes and audiences.

We must be aware of our unique perspectives and experiences, and use them to contribute to global conversations.

At the same time, we must avoid being parochial or isolated, and instead, seek to understand and engage with the world around us.

29. What responsibility do Nigerian writers in the diaspora and at home owe each other in shaping a coherent national narrative?

I think Nigerian writers, regardless of where they are in the world, have a shared responsibility to promote our literature and tell our stories.

We must support and collaborate with each other as well as one another, and work together to showcase the richness and diversity of Nigerian literature.

Whether at home or abroad, we must stay connected to our roots and contribute to the development of our national narrative.

Legacy, Memory and the Future

30. When history finally writes its verdict, how would you like to be remembered: as an administrator, a thinker, a writer, or something else entirely?

I would like to be remembered as someone who used his talents and platforms to make a positive impact on his community and society.

I would want to be remembered for my contribution to the literary environment through ANA and of course, my pet project, the Imodoye Writers Enclave (IWE), a writers residency and resort.

If I am remembered as a writer, thinker, and advocate for social justice, I will consider that a great honour!

31. What institutional legacy do you hope your leadership will leave within ANA long after you are gone?

I harbour the aspiration to contribute meaningfully to the endeavour of cultivating robust and resilient future generations of writers and leaders. 

It is my ardent wish that, long after my tenure has concluded, the Association of Nigerian Authors will persist as a bastion of social justice and a stalwart advocate for Nigerian literature.

32. If Nigerian writers fifty years from now study this era, what warning and what wisdom would you want them to extract from it?

I would want them to learn from our mistakes and successes.

I would want them to know that many of us, preceding them, stayed true to our values and used our platforms to promote positive change.

And I would want them to remember that literature has the power to shape our world, and that they have a responsibility to use that power wisely.

33. Finally, what question do you wish journalists would ask you more often; but rarely do?

I would love to be asked about my vision for Nigerian literature, and how I think writers can contribute to national development. I think we have a critical role to play in shaping our national narrative and promoting social justice. Let's have that conversation! 

An Archival Interview Series is a series for The Words Finesse (TWF) in partnership with Factual Naija News (FNN)