James Eze’s poetry collection Unbind Me Now has been shortlisted for the 2026 Nigeria Prize for Literature, a $100,000 award presented by the Nigeria LNG Limited. The announcement, made by the prize’s judges, places Eze alongside poets Ifowodo and Oburumu, cementing his status as a leading voice in contemporary Nigerian poetry. The shortlist, revealed in late 2025, follows the release of Eze’s third book, which he completed in December 2025. Two months prior, at a university event promoting an earlier work, Eze was publicly honored as “The People’s Poet” by a faculty member, a title he now carries with both pride and responsibility.
Eze’s work, described by critics as “incantatory and accessible,” grapples with themes of societal unrest, resilience, and the poet’s role as a witness to collective trauma. His poem “Voice of the Streets,” a central piece in Unbind Me Now, reflects on the tension between art and activism, a theme he attributes to his belief that “language is the measure of our lives.” The book’s imagery—fire as a metaphor for national turmoil, churches and farms consumed by flames, and flags reduced to ash—mirrors the “pent-up feeling” of a nation grappling with political and social dysfunction. “Fire is the superstructure upon which the entire expression stands,” Eze explained, emphasizing that his work does not seek to sensationalize suffering but to document it with precision.
The shortlist has been hailed as a testament to Nigerian poetry’s enduring connection to the country’s struggles. Eze, who co-founded the Return to Idoto poetry festival in 2015, noted that the themes in Unbind Me Now emerged organically from lived experiences. Poems addressing events like the Lekki Tollgate massacre and the George Floyd protests were written in response to real-time crises, later woven into a “tapestry of anguish.” He rejected the notion of separating art from activism, stating, “Witness records the human condition and historical truths—propaganda is invidious and manipulative.” His approach, he said, demands that every word “move towards a predetermined end,” balancing emotional resonance with technical discipline.
Eze’s creative process is shaped by a diverse professional background. Former roles in banking, corporate communications, and journalism honed his ability to “write with precision and weight,” while his work as a literary editor at Sunday Sun deepened his understanding of narrative. He credits poets like Christopher Okigbo and Gabriel Okara as foundational influences, though he insists, “Influence is something that hunts you if you try to steal it.” His engagement with literary tradition is evident in his reimagining of T.S. Eliot’s “April is the cruellest month,” a nod to the cyclical nature of struggle and renewal.
The poet’s reflections on hope are rooted in everyday acts of perseverance. He cites a Benue farmer still lifting a hoe, a mother navigating flooded streets in Awka, and a Middle Belt survivor “muster[ing] enough self-reinvention to find sleep at night” as symbols of resilience. These images underscore his assertion that “the people are stronger than the tragedies they inflict on us.” Eze also critiques silence, arguing that “a silent leader is a tragic hero” and “democracy abhors silence.” His work, he said, demands accountability from those in power, a stance that has earned both acclaim and controversy.
Despite the prestige of the NLNG shortlist, Eze remains focused on the act of writing itself. “I do language. Or so I think,” he said, acknowledging the humility required of a poet. He has already begun work on his next project, though he refuses to speculate on the outcome of the prize. “You don’t pray for victory and then turn around to contemplate the possibility of not winning,” he stated, emphasizing his commitment to the craft over its rewards. The poet’s universe, he added, “will be totally reconfigured” if he wins—but his work, he insists, is “never finished.”
Eze’s recognition as “The People’s Poet” comes amid broader debates about the role of literature in Nigeria’s socio-political landscape. His work, which blends personal reflection with national urgency, has been praised for its “trenchant witnessing of the poet’s country in the throes of extreme distress.” As the NLNG Prize deliberations continue, Eze’s Unbind Me Now stands as both a mirror and a challenge, inviting readers to confront the “obstinate fate” of a nation still searching for its voice.