In a time when most Nigerian books focus on realism, politics, or pain, Sanya stands out. It reimagines Ṣàngó, the Yoruba god of thunder, through the eyes of a woman. The story blends myth, womanhood, and strength in a way that feels both fresh and deeply rooted. Oyin does not just tell a story; she takes back old tales and gives them a new, feminine voice.

Oyin’s journey to Sanya was not one of random inspiration; it was a deliberate excavation of truth buried beneath myth. She had questions, the kind that don’t let you sleep until you find answers. She revealed in one of her interviews that in her deep dive into the story of Ṣàngó, she found gaps and inconsistencies that most people simply overlooked. But instead of walking away, she chased them.

Those missing pieces became seeds. With a degree in Creative Arts from the University of Lagos and a master’s in Leadership and Development from King’s College London, plus more training from Lagos Business School, Harvard Business School Online, and the School of Politics, Policy and Governance, Oyin had both the curiosity and the discipline to dig deep.

She is a woman who clearly lives at intersections, between myth and modernity, faith and feminism, memory and meaning, and that essence runs through Sanya like current through wire. But beyond research and intellect, it was her boldness that made Sanya what it is. Oyin did not just retell a god’s story; she reframed it through the eyes of a woman. That choice alone is revolutionary. Not because it screams rebellion, but because it shows perspective.

It takes a rare kind of courage to hand a woman the voice of thunder in a world that still tells her to echo softly. Her writing carries traces of her life, her education, her understanding of culture, and her sensitivity to power in its many forms. And that is why Sanya does not read like a myth. Instead, it comes alive.

When it comes to her views, Oyin does not fall neatly into the labels of “feminist” or “conservative”. She is somewhere in between. In Sanya, she does not erase the power of the masculine; she simply allows the feminine to speak beside it. She questions without dishonouring, and she challenges without tearing down.

“Using a female protagonist like Sanya to tell a story inspired by a male god, Sango, was not driven solely by a feminist instinct. Rather, it was a creative decision to offer a fresh perspective. While it might challenge traditional views, I believe storytelling can evolve without necessarily positioning me as a rebel against patriarchy,” Oyin said in an interview by Haneefah Abdulrahman.
Oyin’s beliefs breathe through the story in many ways, showing that reclaiming the woman’s place in myth is not about taking over. It is about balance, about bringing power, tenderness, and voice back to where they have always belonged.

Winning the US$100,000 prize, Africa’s biggest literary award, is not just a personal win for her; it is a milestone for Nigerian literature. It shows that our stories can still hold mystery, beauty, and magic. Sanya reminds us that imagination, when tied to our roots, is powerful.

Since 2004, the NLNG Nigeria Prize for Literature has celebrated Nigeria’s best writers. Names like Chika Unigwe (On Black Sisters’ Street), Abubakar Adam Ibrahim (Season of Crimson Blossoms), Jude Idada (Boom Boom), and Cheluchi Onyemelukwe-Onuobia (The Son of the House) have all won the award. Each of them has told stories that reflect different sides of Nigerian life, migration, memory, family, and everyday struggles.

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Now, Oyin Olugbile joins that list, taking Nigerian storytelling in a bold new direction toward myth and mystery. While others have written about what is real, she brings the gods to life again.
At its heart, Sanya is not just a retelling. It is a reclaiming. It asks the question of what happens when a woman carries the power of a god? What does thunder sound like when it speaks through her voice?

Through Sanya, Oyin combines Yoruba beliefs, womanhood, and identity in a simple but strong story. She reminds us that myths are not just old tales. They are truths that still speak to us today.
Oyin’s win comes at a time when Nigerian writers are exploring new ideas. Writers like Ayobami Adebayo, Chigozie Obioma, Eloghosa Osunde, and T.J. Benson are mixing the spiritual with the modern, showing that our stories can be both local and global.

Her victory proves that we do not always have to tell stories of pain. We can also tell stories of strength, hope, and imagination. Oyin Olugbile’s Sanya is both a celebration and a sign that the thunder still speaks, and this time, it speaks in a woman’s voice. Through her story, myth becomes a mirror.

Through her pen, power feels human. And through her win, Nigerian literature shines brighter, full of life, strength, and endless possibilities.

Meiza Nigeria