Mbizo Chirasha: Who is  Sumaiyah Muhammad Salisu and how long have you been writing?

Mbizo Chirasha is the founder of the Writing Ukraine Prize and a UNESCO-RILA affiliate Artist. He has held fellowships and residencies in Germany, USA, Zambia, Ghana, Tanzania, and Sweden. He edits and curates several literary platforms, including Time of the Poet Republic and Brave Voices. Author of A Letter to the President, his works appear in over 200 journals worldwide, including The Evergreen Review, Poetry London, and FemAsia Magazine.

Sumaiyah Muhammad Salisu: Thank you for asking, I feel honoured to be a part of this amazing project. Sumaiyah Muhammad Salisu is a passionate writer and spoken word artist who weaves activism and literature to amplify the voices of people whose stories are often unheard or underrepresented. I have been writing for about four years, a journey that has allowed me to explore how words can heal, challenge, and inspire change. Beyond writing, I am a vocal advocate for women’s rights and education in Northern Nigeria, and I contribute regularly to both digital and print platforms that highlight feminist and cultural narratives. My work spans creative writing, gender advocacy, social innovation, and legal research, all of which reflect my commitment to storytelling as a tool for justice and social transformation.

What introduced you to literature, to writing and creative activism, where you were inspired through schooling, through your community or through your family?

Honestly, I would say my family first. Without them, I don’t think I’d be the writer I am today. My father has been my biggest cheerleader, always pushing me forward with unrelenting support. My mother literally proofreads my work once I’m done with it. My uncle, who is also a writer, has been such a guide, and then my whole family; from taking videos of me during my spoken word performances, to reading my manuscripts, to encouraging me to publish, and even promising to help put my books out there; they’ve all played such a huge part. I’m so grateful to them and to God. They’ve inspired me by showing me that my words matter. 
Then, of course, my community also played a role, though in a different way. The community I grew up in or what I saw in my surroundings and childhood, didn’t directly inspire me. But because I saw the silence surrounding women’s suffering in so many African communities including mine; the way child marriage, domestic violence, and gender inequality are accepted like they’re normal, like women deserve them because they’re “just women.” That silence inspired me, too, because I kept thinking: if no one speaks up, then the stories of these girls will just disappear. And of course, I saw how these things were also caused by other things, especially poverty. For me poverty is about lacking choices more than it is about lacking money. So, in my stories, I try to show how poverty becomes the soil where roots of injustice and evil grow: forced marriages, violence, inequality, exploitation. 
Circumstances like when a girl is married off to pay a debt, when her community quietens her dreams in the name of tradition, that’s poverty weaponized. 
So, I’d say I was inspired both ways. My family inspired me with their love and support, and my community inspired me with so many different things. Writing became the bridge between the two: on one side, the encouragement to dream, and on the other, the responsibility to give voice to those who can’t.

How many books or stories have you published so far and how are they received in your country?

In 2023 and 2024, I emerged as the first runner-up for the Nigerian Prize for Teen Authors with my novellas The Mother at School and Unbroken: The Healing Odyssey. My short story Five Things Mother Did Not Prepare Me For was published in Writer’s Space Africa Magazine, while The Little Things appeared in Brittle Paper, and The Insecurity Paradox was published in Kalahari Review. These stories, which center on themes of resilience, womanhood, and survival, have been well received on the literary platforms where they appeared and have allowed me to connect with readers across Nigeria and beyond.
Although my novellas are yet to be officially published due to the slower pace of the publishing industry here, they carry deeply significant narratives about women’s strength and resilience, and I look forward to seeing how they will be received nationally and internationally once they are released.

What are your literary thematic areas?

My literary work is rooted in amplifying stories that are too often silenced or overlooked. I write about the quiet suffering of girlhood, the brutal inheritance of patriarchy, the invisibilization of women’s pain, and the normalization of their subjugation. These themes demand disruption, and I use literature as a way to challenge them.
For me, literature is not merely art; it is a form of protest, a means of resistance, and a way of reimagining possibilities for justice and equity. My writing explores resilience, healing, and the pursuit of dignity, especially for women and marginalized communities. In this sense, every story I tell is both an artistic expression and a call to action.

Are you a multi-genre writer or do you only write short stories?

I consider myself a multi-genre writer. While short stories form the largest part of my published work, I also write novellas, longer fiction, and poetry. Although my poetry has not yet been formally published, it remains an important part of my creative practice. Each genre offers me a different way to experiment with language and to approach the themes I care about, but short stories have so far been the most visible platform for sharing my voice with readers.

How is the book industry in your country?

The book industry in my country is growing, vast, and versatile. There is a strong and committed community of writers, readers, and literary enthusiasts, as well as an increasing number of festivals and events that celebrate literature. Nigerian writers are also gaining more international recognition, with many winning prestigious literary awards, which shows how vibrant and promising the industry is. At the same time, the publishing process can be slow and sometimes discouraging. For example, I recently submitted my novel Boundless Woman to publishers and have been waiting for months without a clear timeline, which makes it difficult to plan towards having a published book soon. So while the industry is expanding and full of potential, there are still structural challenges that affect writers who are eager to see their work in print.

Do you write anything on racial equity, social justice, gender rights and other human rights?

I do not primarily write on racial equity, but my work deeply engages with themes of social justice, gender rights, and the lived experiences of African girls and women. My stories explore feminism, and the cultural landscapes that shape womanhood in Africa. Through this lens, I aim to harness the transformative power of narrative to challenge inequality, confront silence, and inspire change particularly for African women and girls whose stories are often marginalized.
I consider myself a literary activist. I do not believe art should be neutral. For me, if art does not challenge, confront, or provoke, then it risks being complicit. My mission is to write the truth even when it is uncomfortable, especially then.

How  are writers and artists appreciated or treated in your country?

To be frank, writers in my country are well respected. I was personally inspired to fully step into the literary scene because of the visibility and recognition given to both established and emerging writers. They are celebrated as cultural voices and role models, and their work often receives wide publicity that allows readers to see them as giants within our society.
Writers and artists are also appreciated through book tours, literary festivals, book club readings, and interactive sessions that connect authors directly with their readers. These platforms not only celebrate their work but also create a strong sense of community between writers, artists, and their audiences.

Do you have spaces that promote creativity, literary arts, books and writing in your country?

Yes, there are many spaces in my country that actively promote creativity, literary arts, books, and writing. These include international platforms such as the World Intellectual Property Organization (WIPO) initiatives, as well as local and cultural spaces like American Spaces, where book readings and literary discussions are often held. Bookshops such as Spine and Label in Abuja also host regular readings and events that connect writers and readers.
In addition, there are monthly book club gatherings and literary meetups that foster dialogue and community among writers and readers. I am an active member of one such book club, and it has been a vital space for sharing ideas, engaging with literature, and nurturing creativity. Collectively, these platforms create vibrant opportunities for writers and artists to grow, collaborate, and find their audience.

Have you ever attended literature festivals, fellowship programmes and bookfairs, how has been your experience?

Yes, I have attended several literary festivals and book fairs, and each experience has been enriching and transformative. In 2024, for example, I volunteered at the Abuja International Poetry Festival, which was a deeply rewarding experience. It gave me the opportunity to meet like-minded people, engage with diverse literary voices, and expand my creative horizons.
I also attend book fairs regularly sometimes as often as once or twice a month and they have been wonderful spaces for discovery, connection, and dialogue with readers and writers alike. Although I have not yet had the opportunity to attend a residency or fellowship program, I aspire to do so in the near future. I believe such programs provide invaluable time, mentorship, and community for writers, and I look forward to the chance when the opportunity arises.

You are from Northern Nigeria; how do you see and what are your conclusions about the ongoing conflicts between Islam community fundamentalists and the Christian community?

I didn’t grow up in places where these conflicts were right in front of me, so I can’t claim to have lived that experience directly. Where I grew up, my community was peaceful and other kids from different religions played without conflicts. That shaped me to see people first, before religion. 
But I also know that in Northern Nigeria, extremist groups like Boko Haram have carried out violence in the name of Islam. For me, that is a clear misrepresentation of who we are as ordinary Muslims. Those people do not represent our values or our faith. And of course, I understand why the Christian community, mentioned in the question, finds it oppressive because nobody wants violence or nobody wants to live in fear.
My conclusion is that religion itself is not the problem. It’s the people: misunderstandings, misrepresentation, and the misuse of religion are what create these conflicts. At the end of the day, we are all just human beings striving to live, create families and to dream. If only we could learn to see the human being before the label of religion, so much of this violence would have no place.

How are women or gender rights respected in Nigeria?

Women and gender rights are promoted in Nigeria, but I would say the respect for them is still uneven in practice. There are protections: the Constitution guarantees equality, Nigeria has signed international agreements like the Convention on the Elimination of All Forms of Discrimination Against Women (CEDAW), and we also have laws such as the Violence Against Persons (Prohibition) Act of 2015, which criminalizes domestic violence, harmful practices like female genital mutilation, and other forms of abuse. There are also ongoing advocacy efforts to implement the Gender Policy that supports women’s inclusion in leadership and education.
But the real challenge is in awareness and culture. Nigeria is a country with a deep history and very strong traditions. In many communities, people still hold on to cultural ideologies that unfortunately limit women. Things like child marriage, unequal access to education, or refusing to give women a seat at the table in decision-making. These practices are harmful, even if they are often defended as “cultural values.”
So, while gender rights are promoted and protected by law, society has not fully caught up. Many citizens are not aware of the laws, or they prefer to lean on culture instead. That is why in reality, women are not always given the respect or equal treatment they deserve.
My conclusion is that Nigeria has made progress in promoting gender rights, but for these rights to be respected in full, we need both stronger enforcement of the laws and a cultural shift that embraces equality. Respect must go beyond paper and enter daily life.

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