Wole Soyinka

Wole Soyinka (born July 13, 1934, Abeokuta, Nigeria) is a Nigerian playwright and political activist who received the Nobel Prize for Literature in 1986. He was the first Black African to be awarded the prize and was cited by the Nobel Committee for his “vivid, often harrowing” works “marked by an evocative, poetically intensified diction.” Soyinka sometimes writes of modern West Africa in a satirical style, but his serious intent and his belief in the evils inherent in the exercise of power are usually evident in his work as well.

Background and early career

A member of the Yoruba people, Soyinka attended Government College and University College in Ibadan before graduating in 1958 with a degree in English from the University of Leeds in England. Upon his return to Nigeria, he founded an acting company and wrote his first important play, A Dance of the Forests (produced 1960; published 1963), for the Nigerian independence celebrations. The play satirizes the fledgling nation by stripping it of romantic legend and by showing that the present is no more a golden age than was the past.

Notable plays

Soyinka wrote several plays in a lighter vein, making fun of pompous, Westernized schoolteachers in The Lion and the Jewel (first performed in Ibadan, 1959; published 1963) and mocking the clever preachers of upstart prayer-churches who grow fat on the credulity of their parishioners in The Trials of Brother Jero (performed 1960; published 1963) and Jero’s Metamorphosis (1973). But his more serious plays, such as The Strong Breed (1963), Kongi’s Harvest (opened the first Festival of Negro Arts in Dakar, 1966; published 1967), The Road (1965), From Zia, with Love (1992), and even the parody King Baabu (performed 2001; published 2002), reveal his disregard for African authoritarian leadership and his disillusionment with Nigerian society as a whole.

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Poetry: First Lines

Other notable plays include Madmen and Specialists (performed 1970; published 1971), Death and the King’s Horseman (1975), and The Beatification of Area Boy (1995). In these and Soyinka’s other dramas, Western elements are skillfully fused with subject matter and dramatic techniques deeply rooted in Yoruba folklore and religion. Symbolism, flashback, and ingenious plotting contribute to a rich dramatic structure. His best works exhibit humor and fine poetic style as well as a gift for irony and satire and for accurately matching the language of his complex characters to their social position and moral qualities.

In 2025 Soyinka’s seldom-produced play The Swamp Dwellers, which was written in 1958, debuted Off-Broadway. Set in a home situated above a swamp in the Niger delta region, the play explores clashes between older and younger generations, tradition and modernity, and poverty and wealth.

Novels and poetry collections

Though he considers himself primarily a playwright, Soyinka also published the novels The Interpreters (1965), Season of Anomy (1973), and Chronicles from the Land of the Happiest People on Earth (2021), the latter of which drew particular praise for its satirical take on corruption in Nigeria. Upon its release, Soyinka told The Guardian that he had attempted to complete it before the 60th anniversary of Nigeria’s independence (in 2020). He also said, “I wanted this to be my present to the nation, to the people who live here: both the governed and those who govern, the exploiters and the exploited.”

His several volumes of poetry include Idanre, and Other Poems (1967) and Poems from Prison (1969; republished as A Shuttle in the Crypt, 1972), published together as Early Poems (1998); Mandela’s Earth and Other Poems (1988); and Samarkand and Other Markets I Have Known (2002). His verse is characterized by a precise command of language and a mastery of lyric, dramatic, and meditative poetic forms. He wrote a good deal of Poems from Prison while he was jailed in 1967–69 for speaking out against the war brought on by the attempted secession of Biafra from Nigeria. The Man Died (1972) is his prose account of his arrest and 22-month imprisonment.

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Of his speaking out against political injustice, Soyinka has said, “I don’t consider it bravery. I always explain that it’s a question of being able to live with oneself.…Either one believes in something or one doesn’t. If you don’t believe in a thing and you go along with it, I find it impossible to be at peace with myself.”

Cultural criticism and memoirs

Soyinka’s principal critical work is Myth, Literature, and the African World (1976), a collection of essays in which he examines the role of the artist in the light of Yoruba mythology and symbolism. Art, Dialogue, and Outrage (1988) is a work on similar themes of art, culture, and society. He continued to address Africa’s ills and Western responsibility in The Open Sore of a Continent (1996) and The Burden of Memory, the Muse of Forgiveness (1999).

An autobiography, Aké: The Years of Childhood, was published in 1981 and followed by the companion pieces Ìsarà: A Voyage Around Essay (1989) and Ibadan: The Penkelemes Years: A Memoir, 1946–1965 (1994). In 2006 he published another memoir, You Must Set Forth at Dawn.

Political activism and other career highlights

Soyinka has long been a proponent of Nigerian democracy. His decades of political activism include periods of imprisonment and exile, and he founded, headed, or participated in several political groups, including the National Democratic Organization, the National Liberation Council of Nigeria, and Pro-National Conference Organizations (PRONACO). In 2010 Soyinka founded the Democratic Front for a People’s Federation and served as chairman of the party.

From 1960 to 1964 Soyinka was coeditor of Black Orpheus, an important literary journal. From 1960 onward he taught literature and drama and headed theater groups at various Nigerian universities, including those of Ibadan, Ife, and Lagos. After winning the Nobel Prize, he was sought after as a lecturer, and many of his lectures were published—notably the Reith Lectures of 2004, as Climate of Fear (2004).