Public Notice - Complaints and Abolition of Writing Competitions
'The standard of Creative Writing in the United Kingdom and among the literary elites in Nigeria is astronomically high. I stand with the decisions made by the judges but apologise to all those who weren't shortlisted.'
B. James.
My just-concluded Poetry Competition has faced criticism for the outcome, with some Nigerian contestants suggesting the winning poems are not metaphysical but instead used imagism.
Some critics have also questioned the judges' criteria and why their poem didn’t win.
Here's a more detailed look at the complaints:
Some critics argue that the winning poems favour imagery, ‘contemporary poets make use of imagism more.’
Feedback from an Unnamed Participant:
‘I notice that the major trend in Nigerian poetry is imagery, which is a good one. Nigerians have neglected deep poetry, which involves philosophy and the ability to think deeply. I wonder why Nigerians are not exploring metaphysical poems, poems I love the most. I am not saying Nigerians should like or write it because I like it, but they should also explore it. Our main focus is nothing but imagery.
My question now is: "What’s the psychological effect of the imagery? Is it just to visualize without gaining? What about metaphysical poems that give room for critical thinking, thereby making people improve intellectually?" I perused contemporary Nigerian poets and saw their use of imagery. Look at poets like Wole Soyinka and Christopher Okigbo (of blessed memory) and see how they refined their poems into metaphysical poems. These two poets have contributed much to poetry in Nigeria.’ [SIC]
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Quality of winning poems:
Some critics have expressed disappointment with the selection process.
Feedback from an Anonymous Participant:
‘This process was said to be anonymous, yet it now feels steeped in unconscious familiarity, with poems selected not just by quality but by what sounds comfortable, recognizable, aligned with the editor’s taste or circle.
I do not fear rejection. I fear misrepresentation. I do not want preferential treat [SIC] but fairness.
But what I received in your message and in that judge’s remark, was not artistic critique, but a failure to sincerely engage with the work — its grief, its metaphor, its voice.
Poems like mine may not be “ready” for a curated UK-facing collection — but they are ready for readers. Ready for platforms that do not reduce artistic difference to editorial risk. Ready for places that do not mistake emotional truth for stylistic confusion.
Thank you for your time — and I hope future editions of your anthology and journal make more room for emotional risk, formal daring, and the messy, magnificent truths that underrepresented voices like mine carry.'
There were unjustified concerns that my competition favoured certain styles of poetry over others, regardless of the fairness of the judges on the panel.
Feedback from an Unidentified Participant:
‘If the real winning criteria became “poems that could be published in a UK-based collection,” then please say so long before the compete ends. But let's not pretend this edition was one of merit, when it was clearly one of preference.’
I wish to congratulate the winners again. The best entries were chosen.
I will no longer run competitions but offer a Writer’s Grant of up to $100 instead.