Eloghosa Osunde’s Necessary Fiction is a radical, gorgeous second novel, whose breadth of bold characters unravel the reality of living a queer life in modern Lagos, Nigeria. Osunde’s polyphonic plot entwines a community of artists, lovers, friends and kin – a carousel of narrators across ages, who shimmer with desire, dreaming up survival in its many joys and devastations.
Forever lying and truthing to stay alive; they search for narratives to protect them from fear, seeking personas, lovers and creative communion.
From audacious entrepreneur Ziz, whose frayed spirit makes a home among beloveds, to resilient writer Awele, who learnt the art of disassociation in childhood – these characters search for individuation. Though many of them have grown up with wealth, they carry the debts of dutiful children, processing emotional and physical abuse, while navigating futures that seemed impossible for their parents.
Osunde shines a light on older generations who bent themselves backwards conforming to societal expectations – beside queer elders who offer blessings. Though grief is perennial, the dead are welcome partners, returning to cohabit with their loved ones.
Osunde’s characters learn to heal and hold each other. If their conversations sometimes veer into therapy speak, this feels accurate to a generation entangled with the internet, searching for language to liberate the void within.
The book’s sonic thread of playlists proffers a soundtrack to house parties that glister; spaces of liberation that shed shame. Psalmic and sinuous, Osunde’s bitter-bright prose is remarkable. I read their book with the reverie of a sacred ritual. Calling to the gays, theys and those who don’t need labels to know themselves; Necessary Fiction is a queer love song, honouring chosen family in Nigeria. They are precious beyond compare.
