Short story writers from Nigeria

"The world is like a Mask dancing. If you want to see it well, you do not stand in one place."

"For an African writing in English is not without its serious setbacks. He often finds himself describing situations or modes of thought which have no direct equivalent in the English way of life. Caught in that situation he can do one of two things. He can try and contain what he wants to say within the limits of conventional English or he can try to push back those limits to accommodate his ideas … I submit that those who can do the work of extending the frontiers of English so as to accommodate African thought-patterns must do it through their mastery of English and not out of innocence."

"found a girl who will suit [him] admirably"

"it is impossible for [him] to marry Nweke’s daughter"

"deeply affected by his father’s grief"

"the first rain in the year"

"calls for medicine"

"that women supply with success to recapture their husbands’ straying affection"

"obstinately ahead of his more superstitious neighbors in these matters"

"In the cosmopolitan atmosphere of the city it had always seemed to her something of a joke that a person’s tribe could determine who he married."

"‘I can’t—we must—I mean it is impossible for me to marry Nweke’s daughter.’ ‘Impossible. Why?’ asked his father. ‘I don’t love her.’ ‘Nobody said you did. Why should you?’"

"What one looks for in a wife are a good character and a Christian background."

"Yes. They are most unhappy if the engagement is not arranged by them. In our case it’s worse—you are not even an Ibo.This was said so seriously and so bluntly that Nene could not find speech immediately. In the cosmopolitan atmosphere of the city it had always seemed to her something of a joke that a person’s tribe could determine whom he married."

"As Nnaemeka walked home that evening he turned over in his mind the different ways of overcoming his father’s opposition, especially now that he had gone and found a girl for him. He had thought of showing his letter to Nene but decided on second thoughts not to, at least for the moment."

"“I don’t love her."“Nobody said you did. Why should you?” he asked.“Marriage today is different…”“Look here, my son,” interrupted his father, “nothing is different. What one looks for in a wife are a good character and a Christian background.”Nnaemeka saw there was no hope along the present line of argument."

"Nene Atang from Calabar. She is the only girl I can marry.” This was a very rash reply and Nnaemeka expected the storm to burst. But it did not. His father merely walked away into his room. This was most unexpected and perplexed Nnaemeka. His father’s silence was infinitely more menacing than a flood of threatening speech. That night the old man did not eat."

"Nnaemeka, for his own part, was very deeply affected by his father’s grief. But he kept hoping that it would pass away. If it had occurred to him that never in the history of his people had a man married a woman who spoke a different tongue, he might have been less optimistic."

"The story eventually got to the little village in the heart of the Ibo country that Nnaemeka and his young wife were a most happy couple. But his father was one of the few people who knew nothing about this. He always displayed so much temper whenever his son’s name was mentioned that everyone avoided it in his presence. By a tremendous effort of will he had succeeded in pushing his son to the back of his mind. The strain had nearly killed him but he had persevered, and won."

"Okeke was trying hard not to think of his two grandsons. But he knew he was now fighting a losing battle. He tried to hum a favourite hymn but the pattering of large rain drops on the roof broke up the tune. His mind immediately returned to the children. How could he shut his door against them? By a curious mental process he imagined them standing, sad and forsaken, under the harsh angry weather—shut out from his house. That night he hardly slept, from remorse—and a vague fear that he might die without making it up to them."

"Proverbs are the palm-oil with which words are eaten."

"When the moon is shining the cripple becomes hungry for a walk."

"We shall all live. We pray for life, children, a good harvest and happiness. You will have what is good for you and I will have what is good for me. Let the kite perch and let the egret perch too. If one says no to the other, let his wing break."

"A proud heart can survive general failure because such a failure does not prick its pride. It is more difficult and more bitter when a man fails alone."

"The Ibo people have a proverb that when a man says yes his chi says yes also. Okonkwo said yes very strongly, so his chi agreed. And not only his chi but his clan too, because it judged a man by the work of his hands."

"But he was not the man to go about telling his neighbors that he was in error. And so people said he had no respect for the gods of the clan. His enemies said that his good fortune had gone to his head."

"Even the village rain-maker no longer claimed to be able to intervene. He could not stop the rain now, just as he would not attempt to start it in the heart of the dry season, without serious danger to his own health."

"No matter how prosperous a man was, if he was unable to rule his women and his children (and especially his women) he was not really a man."

"When did you become a shivering old woman," Okonkwo asked himself, "you, who are known in all the nine villages for your valor in war? How can a man who has killed five men in battle fall to pieces because he has added a boy to their number? Okonkwo, you have become a woman indeed."

"You sound as if you question the authority and the decision of the Oracle, who said he should die." "I do not. Why should I? But the Oracle did not ask me to carry out its decision." [...] "The Earth cannot punish me for obeying her mesenger," Okonkwo said. "A child's fingers are not scalded by a piece of hot yam which its mother puts into its palm."

"After such treatment it would think twice before coming again, unless it was one of the stubborn ones who returned, carrying the stamp of their mutilation--a missing finger or perhaps a dark line where the medicine man's razor had cut them."

"And when, as on that day, nine of the greatest masked spirits in the clan came out together it was a terrifying spectacle. Okonkwo's wives, and perhaps other women as well, might have noticed that the second egwugwu had the springy walk of Okonkwo. And they might also have noticed that Okonkwo was not among the titled men and elders who sat behind the row of egwugwu. But if they thought these things they kept them to themselves. The egwugwu with the springy walk was one of the dead fathers of the clan."

"Beware Okonkwo!" she warned. "Beware of exchanging words with Agbala. Does a man speak when a god speaks? Beware!"

"The land of the living was not far removed from the domain of the ancestors. There was coming and going between them, especially at festivals and also when an old man died, because an old man was very close to the ancestors. A man's life from birth to death was a series of transition rites which brought him nearer and nearer to his ancestors."

"If the clan did not exact punishment for an offense against the great goddess, her wrath was loosed on all the land and not just on the offender. As the elders said, if one finger brought oil it soiled all the others."

"It was like beginning life anew without the vigor and enthusiasm of youth, like learning to become left-handed in old age."

"We have heard stories about white men who make the powerful guns and the strong drinks and took slaves away across the seas, but no one thought the stories were true." [said Obierika] "There is no story that is not true," said Uchendu. "The world has no end, and what is good among one people is an abomination with others. We have albinos among us. Do you not think that they came to our clan by mistake, that they have strayed from their way to a land where everybody is like them?"

"Chielo, the priestess of Agbala, called the converts the excrement of the clan, and the new faith was a mad dog that had come to eat it up."

""Let us give them a portion of the Evil Forest. They boast about victory over death. Let us give them a real battlefield in which to show their victory." [...] They offered them as much of the Evil Forest as they cared to take. And to their great amazement the missionaries thanked them and burst into song."

"Okonkwo was popularly called the "Roaring Flame." As he looked into the log fire he recalled the name. He was a flaming fire. How then could he have begotten a son like Nwoye, degenerate and effeminate? [...] He sighed heavily, and as if in sympathy the smoldering log also sighed. And immediately Okonkwo's eyes were opened and he saw the whole matter clearly. Living fire begets cold, impotent ash. He sighed again, deeply."

"The white man is very clever. He came quietly with his religion. We were amused at his foolishness and allowed him to stay. Now he has won our brothers, and our clan can no longer act like one. He has put a knife on the things that held us together and we have fallen apart."

"As a man danced so the drums were beaten for him."

"Eneke the bird was asked why he was always on the wing and he replied: "Men have learned to shoot without missing their mark and I have learned to fly without perching on a twig.""

"Whenever you see a toad jumping in broad daylight, then know that something is after its life."

"In the many years in which he had toiled to bring civilization to different parts of Africa he had learned a number of things. One of them was that a District Commissioner must never attend to such undignified details as cutting a hanged man from the tree. Such attention would give the natives a poor opinion of him. In the book which he planned to write he would stress that point. [...] One could almost write a whole chapter on him. Perhaps not a whole chapter but a reasonable paragraph, at any rate."

"A man who lived on the banks of the Niger should not wash his hands with spittle."

"Real tragedy is never resolved. It goes on hopelessly forever. Conventional tragedy is too easy. The hero dies and we feel a purging of the emotions. A real tragedy takes place in a corner, in an untidy spot, to quote W. H. Auden."

"You cannot plant greatness as you plant yams or maize. Who ever planted an iroko tree — the greatest tree in the forest? You may collect all the iroko seeds in the world, open the soil and put them there. It will be in vain. The great tree chooses where to grow and we find it there, so it is with the greatness in men."

"If one finger brings oil it soils the others."

"A man to whom you do a favor will not understand if you say nothing, make no noise, just walk away. You may cause more trouble by refusing a bribe than by accepting it."

"When there is a big tree small ones climb on its back to reach the sun."

"Although he was still only a child it looked as though the deity had already marked him out as his future Chief. Even before he had learnt to speak more than a few words he had been strongly drawn to the god’s ritual."

"When a handshake goes beyond the elbow we know it has turned to another thing."

"We have no quarrel with Ulu. He is still our protector, even though we no longer fear Abam warriors at night. But I will not see with these eyes of mine his priest making himself lord over us. My father told me many things, but he did not tell me that Ezeulu was king in Umuaro. Who is he, anyway? Does anybody here enter his compound through the man’s gate? If Umuaro decided to have a king we know where he would come from. Since when did Umuachala become head of the six villages? We all know that it was jealousy among the big villages that made them give the priesthood to the weakest. We shall fight for our farmland and for the contempt Okperi has poured on us. Let us not listen to anyone trying to frighten us with the name of Ulu. If a man says yes his chi also says yes: And we have all heard how the people of Aninta dealt with their deity when he failed them. Did they not carry him to the boundary between them and their neighbors and set fire on him? I salute you"

"I have traveled in Olu and I have traveled in Igbo, and I can tell you there is no escape from the white man. He has come. When Suffering knocks at your door and you say there is no seat for him, he tells you not to worry because he has brought his own stool. The white man is like that. Before any of you here was old enough to tie the cloth between the legs I saw with my own eyes what the white man did to Abame. Then I knew there was no escape. As daylight chases away darkness so will the white man drive away all our customs. I know that as I say it now it passes by your ears, but it will happen. The white man has power which comes from the true God and it burns like fire. This is the God about Whom we preach every eighth day."

"A man does not speak a lie to his son,” he said. “Remember that always. To say My father told me is to swear the greatest oath"

"The man was a complete nonentity until we crowned him, and now he carries on as though he had been nothing else all his life. It’s the same with Court Clerks and even messengers. They all manage to turn themselves into little tyrants over their own people. It seems to be a trait in the character of the negro"

"a man should hold his compound together, not plant dissension among his children"

"The man who brings ant-infested faggots into his hut should not grumble when lizards begin to pay him a visit"

"He looked as bright as a new shilling in his immaculate white robes."

"We had all accepted things from white skins that none of us would have brooked from our own people."

"A man of worth never gets up to unsay what he said yesterday."

"In Chief Nanga’s company it was impossible not to be merry."

"What mattered was that a man had treated me as no man had a right to treat another—not even if he was master and the other slave; and my manhood requires that I made him pay for his insult in full measure."

"That’s all they cared for,’ [Max] said with a solemn face. ‘Women, cars, landed property. But what else can you expect when intelligent people leave politics to illiterates like Chief Nanga?"

"At first Onitsha looked very strange to Chike. He could not say who was a thief or kidnapper and who was not. In Umuofia every thief was known, but here even people who lived under the same roof were strangers to one another."

"After the incident of the leopard skin Chike lost some of his eagerness for crossing the Niger. He did not see how he could obtain one shilling without stealing or begging."

"The largest sum of money he had ever had at one time was threepence."

"Then the stranger went away and Mr. Nwaba retired to his room. Chike did not give much thought to the incident at the time. But he was to remember it later."

"In his joy, he said again, ‘Thank you, sir.’ The man did not reply; he was talking to his friend again, with a cigarette in his mouth."

"So Chike’s adventure on the River Niger brought him close to danger and then rewarded him with good fortune. It also exposed Mr. Peter Nwaba, the rich but miserly trader. For it was he who had led the other thieves."

"Praise bounteous providence if you will that grants even an ogre a tiny glow-worm tenderness encapsulated in icy caverns of a cruel heart or else despair for in the very germ of that kindred love is lodged the perpetuity of evil."

"By immediately identifying his people as “men of soul” ."

"Measure out / [their] joys and agonies / too, our long, long passion week / in paces of the dance”"

"A dead end nor total loss."

"Lying in wait for the people’s land and resources."

"He calls the ground where men return in death a place of “safety” and “strength” ."

"He warns them not to become “disinherited”."

"Lame foot in the air."

"They led and he followed blindly, his heavy chest heaving up and down in silent weeping ... it was the worst kind of madness, deep and tongue-tied."

"We did not ask him for money yesterday; we shall not ask him tomorrow. But today is our day; we have climbed the iroko tree and would be foolish not to take down all the firewood we need."

"I don't believe anybody will be so unlike other people that they will be unhappy when their sons are engaged to marry."

"People create stories create people; or rather stories create people create stories."

"When suffering knocks at your door and you say there is no seat for him, he tells you not to worry because he has brought his own stool."

"War is war. The strong will always crush the weak. The only difference is that in the process some have made a lot of money and others a lot of misery."

"In his mind, he could see the ravages of war: destruction, suffering, hunger, and the grotesque faces of men turned beasts by the bitterness of combat."

"A Conrad student informed me in Scotland that Africa is merely a setting for the disintegration of the mind of Mr. Kurtz. Which is partly the point. Africa as setting and backdrop which eliminates the African as human factor. Africa as a metaphysical battlefield devoid of all recognizable humanity, into which the wandering European enters at his peril."

"The real question is the dehumanization of Africa and Africans which this age-long attitude has fostered and continues to foster in the world. And the question is whether a novel which celebrates this dehumanization, which depersonalizes a portion of the human race, can be called a great work of art."

"It always surprised him, he went on to say, because he never had thought of Africa as having that kind of stuff, you know."

"The earth seemed unearthly."

"Conrad saw and condemned the evil of imperial exploitation but was strangely unaware of the racism on which it sharpened its iron tooth."

"We were wanderers on a prehistoric earth, on an earth that wore the aspect of an unknown planet."

"A certain enormous buck nigger encountered in Haiti fixed my conception of blind, furious, unreasoning rage, as manifested in the human animal to the end of my days."

"The total life of man is reflected in his art. And so when people come to us and say, "Why are you... you artist so political?" I don't know what they are talking about. Because art is political. And further more I'd say this, that those who tell you "Do not put too much politics in your art," are not being honest. If you look very carefully you will see that they are the same people who are quite happy with the situation as it is. And what they are saying is not don't introduce politics. What they are saying is don't upset the system. They are just as political as any of us. It's only that they are on the other side. Now in my enthusiasm, art cannot be on the side of the oppressor."

"What art tries to do is domesticate whatever is around and press it into the service of man. Morality is basic to the nature of art."

"we are not gladiators. But there is something we are committed to of fundamental importance, something everybody should be committed to. We are committed to the process of changing our position in the world. This is what our literature is about. There is a certain position assigned to me in the world, assigned to him [Baldwin] in the world, and we are saying we are not satisfied with that position. This is important to me-to everybody. I think you see it is important to me. You may not see that it is important to you but it is. We want to create the new man. Mankind tries all kinds of ways, all kinds of solutions; some of them leading that far and no farther and it is wise that we try something else. We have followed your way and it seems there is a little problem at this point. And so we are offering a new aesthetic. There is nothing wrong with that...Picasso did that. In 1904 he saw that Western art had run out of breath so he went to the Congo-the dispised Congo-and brought out a new art. Don't mind what he was saying before he died: that much is entirely his business. But he borrowed something which saved his art. And we are telling you what we think will save your art. We think we are right, but even if we are wrong it doesn't matter. It couldn't be worse than it is now."

"Well there is an assumption there that Conrad's...Heart of Darkness is great art and I don't accept that. Great art flourishes on problems or anguish or prejudice. But the role of the writer must be very clear. The writer must not be on the side of oppression. In other words there must be no confusion. I write about prejudice; I write about wickedness; I write about murder, I write about rape: but I must not be caught on the side of murder or rape. It is as simple as that."

"A number of very young people in Kenya have adopted the Marxist analysis of society. And I cannot quarrel with that. But I can't help feeling at the same time... that my own aesthetic definition, which I gave earlier on, would be a little uneasy about the narrowing of things to a point where we no longer accept the truth of the Ibo proverb that "Where something stands, something else will stand beside it," and that we become like the people we are talking about the single-mindedness which leads to totalitarianism of all kinds, to fanaticism of all kinds. And I can't help the feeling that somehow at the base, art and fanaticism are not loggerheads. And so I don't dismiss the Marxist interpretation. I think it is valid in its way. But when somebody says "I am the way, the truth, and the light.... "Now my own religion, the religion of my people says something else. It says, "You may worship one god to perfection and another god will kill you." Wherever something is, something else also is. And I think it is important that whatever the regimes are saying that the artist keeps himself ready to enter the other plea. Perhaps it's not tidy perhaps we are contradicting ourselves. But one of your poets has said, "Do I contradict myself? Very well.""

"[W]hatever you are is never enough; you must find a way to accept something, however small, from the other to make you whole and to save you from the mortal sin of righteousness and extremism. (p. 154)"

"The guilty suffers; the sufferer is guilty. As for the righteous, those whose arms are straight, they will always prosper!"

"Don't disparage the day that still has an hour of light in its hand."

"As the saying goes, the unexamined life is not worth-living."

"My people have a saying which my father often used. A man whose horse is missing will look everywhere even in the roof."

"Those who mismanage our affairs would silence our criticism by pretending they have facts not available to the rest of us. Our best weapon against them is not to marshal facts, of which they are truly managers, but passion. Passion is our hope and strength."

"That we may accept a limitation on our actions but never, under no circumstances, must we accept restriction on our thinking."

"I wouldn't put myself under the democratic dictatorship even of angels and archangels."

"Do your people have a proverb about a man looking for something inside the bag of a man looking for something?"

"Aha! Come to think of it, that might explain the insistence of the oppressed that the oppressor must not be allowed to camouflage his appearance or confuse the poor by stealing and masquerading in their clothes. Perhaps it is the demand of that primitive integrity of the earth... Or, who knows, it might also be something less innocent (for the earth does have its streak of peasant cunning) - an insistence that your badge of privilege must never leave your breast, nor your coat of many colours your back... so that... on the wrathful day of reckoning... you will be as conspicuous as a peacock!"

"In the end I began to understand. There is such a thing as absolute power over narrative. Those who secure this privilege for themselves can arrange stories about others pretty much where, and as, they like. Just as in corrupt, totalitarian regimes, those who exercise power over others can do anything."

"In the end I began to understand. There is such a thing as absolute power over narrative. Those who secure this privilege for themselves can arrange stories about others pretty much where, and as, they like. Just as in corrupt, totalitarian regimes, those who exercise power over others can do anything. They can bring out crowds of demonstrators whenever they need them."

"The Igbo people of Southern Nigeria are more than ten million strong and must be accounted one of the major peoples of Africa. Conventional practice would call them a tribe, but I no longer follow that convention. I call them a nation"

"The Igbo nation in precolonial times was not quite like any nation most people are familiar with. It did not have the apparatus of centralized government but a conglomeration of hundreds of independent towns and villages each of which shared the running of its affairs among its menfolk according to title, age, occupation, etc.; and its women folk who had domestic responsibilities as well as the management of the scores of four-day and eight-day markets that bound the entire region and its neighbours in a network of daily exchange of goods and news, from far and near."

"The dispossession that caused my shrillness is in retreat though the marks of its pillage are still everywhere. I can see, in spite of them, that I have come a long way."

"It began to dawn on me that although fiction was undoubtedly fictitious it could also be true or false, not with the truth or falsehood of a news item but as to its disinterestedness, its intention, its integrity."

"We cannot trample upon the humanity of others without devaluing our own. The Igbo, always practical, put it concretely in their proverb Onye ji onye n'ani ji onwe ya: "He who will hold another down in the mud must stay in the mud to keep him down."

"...when we are comfortable and inattentive, we run the risk of committing grave injustices absentmindedly."

"Africa is people" may seem too simple and too obvious to some of us. But I have found in the course of my travels through the world that the most simple things can still givwe us a lot of trouble, even the brightest among us: this is particularly so in matters concerning Africa."

"I do not see that it is necessary for any people to prove to another that they build cathedrals or pyramids before they can be entitled to peace and safety."

"Paradoxically, a saint like [Albert] Schweitzer can give one a lot more trouble than King Leopold II, villain of unmitigated guilt, because along with doing good and saving African lives Schweitzer also managed to announce that the African was indeed his brother, but only his junior brother."

"The point in all this is that language is a handy whipping boy to summon and belabor when we have failed in some serious way. In other words, we play politics with language, and in so doing conceal the reality and the complexity of our situation from ourselves and from those foolish enough to put their trust in us."

"It is appropriate that we celebrate Martin Luther King, a man who struggled so valiantly to restore humanity to the oppressed and the oppressor."

"Some people flinch when you talk about art in the context of the needs of society thinking you are introducing something far too common for a discussion of art. Why should art have a purpose and a use? Art shouldn't be concerned with purpose and reason and need, they say. These are improper. But from the very beginning, it seems to me, stories have indeed been meant to be enjoyed, to appeal to that part of us which enjoys good form and good shape and good sound."

"There is a moral obligation, I think, not to ally oneself with power against the powerless."

"People from different parts of the world can respond to the same story if it says something to them about their own history and their own experience."

"Every generation must recognize and embrace the task it is peculiarly designed by history and by providence to perform."

"Writing has always been a serious business for me. I felt it was a moral obligation. A major concern of the time was the absence of the African voice. Being part of that dialogue meant not only sitting at the table but effectively telling the African story from an African perspective - in full earshot of the world."

"The triumph of the written word is often attained when the writer achieves union and trust with the reader, who then becomes ready to be drawn into unfamiliar territory, walking in borrowed literary shoes so to speak, toward a deeper understanding of self or society, or of foreign peoples, cultures, and situations."

"There was another epidemic that was not talked about much, a silent scourge—the explosion of mental illness: major depression, psychosis, schizophrenia, manic-depression, personality disorders, grief response, post-traumatic stress disorder, anxiety disorders, etc.—on a scale none of us had ever witnessed."

"Camara Laye’s The Dark Child and Chinua Achebe’s Things Fall Apart because they gave me a glorious shock of recognition. Until I read them, I was not consciously aware that people who looked like me could exist in books. I grew up in a Nigerian university town, and all the books I read before then were foreign children’s books with white characters doing unfamiliar things."

"I do reread novels I love, like Chinua Achebe’s “Arrow of God,” to remind myself of what fiction can do."

"When I read Things Fall Apart which is about an Ibo tribe in Nigeria, a tribe I never saw, a system-to put it that way or a society, the rules of which were a mystery to me, I recognized everybody in it. And that book was about my father. How we got over I don't know, we did!""

"Achebe is a great writer. He is the father of our English literature. You can't take that away from him. His work is highly original. When I was doing my degree here, I used Arrow of God, which I think is his best work. But the critics seem to think everything should be like Things Fall Apart. Everytime you want to read Achebe, you feel you want to study it as literature. You don't pick it up as though you want to enjoy the literature. That is why for a very, very long time, if you went to the African Writers Series, you had the feeling that this is not for the common people."

"I rank Achebe very highly, especially his Arrow of God, and I consider it a tragedy that he has had to live under such disturbed conditions and writes so little."

"He has begun to resuscitate and reinstate the past, the precolonial era. I'm thinking of Arrow of God, which to my mind is perhaps the best novel to come out of Africa. I think it is an absolutely wonderful novel. And if you look at that novel, it really has almost nothing to do with the impact of the white man. It is about black life, black civilization, before the period of conquest. The period of conquest is just on the horizon, so to speak. But there are not many people who have tackled that kind of theme. There are not many black writers who have done it yet."

"Chinua Achebe was a real education for me, a real education."

"Feminism is a laudable theory. I like how it raises our awareness of the discrimination against women, and I sanction the equality of men and women, girl and boy that it advocates."

"As salt is the taste to food so as a healthy communication is the taste to a loving and happy marriage."

"Selection of adequate and efficient methods of financing, in addition to organisational delivery structure for health services, is essential, if a country is set to achieve its national objective of providing health for all."

"It is well to dream... as long as we live, we shall continue to dream. But it is also important to remember that like babies dreams are conceived but not all dreams are born alive. Some are aborted. Others are stillborn."

"Education opens doors and gives an individual option in life."

"I am saddened by the fact that most women, especially in my part of the country, are trained from childhood to regard themselves as intellectually weak and incapable of attaining the highest peak in intellectual development."

"When I read a book, I look out for the message the author is trying to pass across to the reader. Does the work contain wisdom? Have I learnt anything from it? I also look out for entertainment. Have I been sufficiently entertained?"

"If you want to be a good writer, write what you deeply feel you should write, not what you feel the audience will like."

"The hope that somewhere, somehow, someone may have benefitted from my ideas makes me feel I have made my little contribution to humanity. In addition to that, the national and international recognition is simply great"

"I would say that life demands that we do not give up, no matter how hard it looks. I have lived by the simple code contained in almost all religions, believe in God and do good works. (Remember God does not leave anybody behind)."

"Hard work runs through my blood. It does not kill, but laziness does. If I were to write about myself I would have hundreds of titles, maybe a title for every page."

"She knew education is the master key to opportunities for a better life. Education opens doors and gives an individual option in life."

"My stories are triggered by drama of life."

"The general attitude of our society towards the female, commonly regarded as the “weaker” sex. I am saddened by the fact that most women, especially in my part of the country, are trained from childhood to regard themselves as intellectually weak and incapable of attaining the highest peak in intellectual development."

"My inability to express myself well in spoken words. Perhaps this too may have been part of my training, not to be outspoken. I find spoken words unreliable, because once the words are out in the open, it is impossible to retrieve and edit them. I, therefore, discovered early in life, that writing is my best medium of self expression and a valuable tool of communication. This started with letter writing and graduated into fiction writing. In my days, letter writing was a beautiful form of communication. Courtship was elegantly done by the exchange of letters."

"Fiction writing, for me, is also triggered by the drama of life I witness on daily basis. I find human nature an interesting study. Human relationships, especially romantic ones, are intriguing and highly fascinating."

"I should mention also that besides all these, I was born into a long line of artists from my maternal side, musicians, dancers, drummers and story tellers. My major genre is prose fiction, (the novel), followed by short stories."

"When I read a book, I look out for the message the author is trying to pass across to the reader. Does the work contain wisdom? Have I learnt anything from it? I also look out for entertainment. Have I been sufficiently entertained? I believe strongly that apart from imparting knowledge to the reader, a writer should entertain the reader, because reading should be a joyous experience."

"In the mid-eighties, I was “discovered” by Prof. Stuart Brown, a Briton, and an English lecturer at the Bayero University, Kano. He had come across an excerpt of a story I was attempting to write. He was highly impressed by what he had read and quickly assured me that I was a writer in the making. Not only did he encourage me to write, he exposed my work to the international literary scene, and made it possible for the first edition of “The Stillborn” to be published by Longman Harlow U.K."

"I cannot, now, remember any particular book that had triggered the ‘muse’ in me, but I can remember some of my best novels; Arrow of God, by Chinua Achebe, The River Between, by Ngugi wa Thiongo and Woman at Point Zero, by Nawal el Saadawi."

"The character of Ezeulu, the chief priest in Arrow of God, by Chinua Achebe is one of my favourite characters."

"Writing is my key to self expression. It has been my life line. Not only have I found satisfaction, I have been able to grow intellectually and emotionally through the art of writing. The hope that someone, somewhere, and somehow may benefit from my work makes me feel I have made some contribution to humanity. This feeling is simply great!"

"I do not have a special time, or place for reading or writing. Whenever and wherever I feel the urge to write, I write, using my small note book to capture passing ideas from within me, and scenes from the outside."

"Chinua Achebe, Ngugi wa Thiongo and Nawal el Saadawi are some of my favourite authors. There are quite a number of Western authors, too numerous to mention here. I, however, identify with these three great African writers, because they have deep understanding of human psychology and pay attention to details. They accept that human beings are what they are, and behave according to the circumstances they find themselves in; no judgement."

"I already met one of my favourite authors, Prof. Chinua Achebe in December of 1986. I had no question to ask him, I simply listened to his advice, when I narrated to him an incident that required me to take a decision. “Zaynab,’’ he said, ‘’ don’t let anybody tell you what to do."

"Lord of the Rings by J.R.R Tolkien was the book I read last. The book reflects a world moving toward a certain direction, powered by both good and evil. It is a story of an entire universe in serious conflict and impending danger. The story says, this is also your world and you are not alone in it. It is just that we may not be conscious of the presence of the “others.”"

"I have no immediate plan to read a new book because I am seriously engaged in writing someone else’s story."

"My library is next door to my home office for easy access, and it is arranged in an order of priority."

"I am a reader, as well as a writer. I read whenever I have the opportunity to do so, and as often as I can. My slogan for reading is, ‘’read a book a week.’’ You see, no matter how small the book you pick every week is, you will be sure to cover a lot of ground in reading by the end of a year."

"Writing in Nigeria is not a job, because it never pays."

"I research a lot depending on the subject-matter. The subject matter informs the nature of settings to be used in the story; historic, physical, socio-economic and political environments, also referred to as Time and Place/Space. For example if the setting is to be a hospital scene, my research will be to observe how the entire hospital management functions, and how medical and other technical staff operates."

"Ideas come from a lot of sources, experiences of friends, colleagues, neighbors, self and even strangers. However, my greatest source of gathering ideas is from listening to people talk about themselves, or about others, especially at public gatherings, weddings, naming ceremonies, funerals and the market place. A lot of ideas are also gathered at home among family members. The secret is to be a good listener, not talker."

"For me, there’s no special atmosphere for writing. Whenever I feel the urge, (known in literature as ‘inspiration’) I write, using my small note book to capture scenes from the outside and passing ideas from my mind."

"My major genre is the prose fiction, followed by short stories, and the central theme has always been about female empowerment. I am intrigued by mysteries, Sci-fi and detective books. As for children’s books, as I get older, I now realize the importance of writing for children."

"The time-factor. I often wish there are more hours in a day. When a writer is holding, rather tightly, to a demanding job, such as teaching, raising a family and fulfilling certain social obligations, writing can easily take a backbench."

"Unknown to many, there are some good female writers in Northern Nigeria, but they are not easily known because they write in Hausa language. For a wider audience, I have advocated for translations, for years, at various forums, at home and abroad."

"Writing in Nigeria is not a job at all, because a job pays. Writing at home does not. I certainly cannot remember the last time I heard from my publishers. Between the publishers and the book pirates a creative writer in Nigeria will have to have a better reason for writing. For me, writing is therapeutic. I find emotional and psychological healings in it. The act of writing has always been my life-line."

"I believe in the English saying that ‘No one ever kicks a dead dog’. I must be doing something worth talking about. Criticism, negative, or positive serves as a platform for my intellectual growth. In time, the ‘Mazauni gonin rawa’ will come to realize that strength and weakness have nothing to do with gender, they are personality traits. Society simply assigned weakness for women, perhaps based on physic."

"I teach, interact with students on daily basis, and supervise their theses. I create time for family members. I do not set a daily writing goal. It does not work for me that way. I realized also that I needed to be sober to write convincingly. I cannot write when I am excessively happy. Some days are simply blank. Often I would write when travelling, or at night when sleep escapes."

"Simple question, but difficult answer. At the age of eight, I literally held a hoe in my hands. Two plots of land were carved out for me from my mother’s land, one for okra, the other for groundnuts. I helped my mother pay my school fees. Many people would find this hard to believe. I am still holding a hoe, (in a sense). Hard work runs through my blood. It does not kill, but laziness does. If I were to write about myself I would have hundreds of titles, maybe a title for every page."

"A little bit of me is in every book I have written. Consciously, or unconsciously, an artist gives away a piece of the ‘self’. It is widely believed that a good piece of creative work is an extension of the artist."

"By the Grace of Almighty God, I want to believe that I have been able to touch the lives of people, not only through writing, but in other simple ways, and I intend to do that for as long as I live."

"Recommending any one of my books would depend on the target audience. For young adults, ‘The Stillborn’, for the teens, ‘The Virtuous Woman’, for a variety of readers, ‘From The Housewife’, to the university undergraduate to the footloose, ‘Cobwebs and Other Stories’, for those interested in family values, ‘The Descendants’ and for the symbolist, ‘The Initiates’."

"A book reads us as much as we read a book."

"Negritude is an ideology of the elite, completely devoid of meaning for the masses ... Negritude is an ideology suggesting that Africans are blessed with a soul and not reason. They would have us believe that Africans can sing, dance and feel, but not think."

"" The future of Nigeria is no longer in it's army as some of us used to think, but in the oil business."

"always remember that you are an Ajayi man. Don’t forget the Ajayi motto – In all things moderation, with exception of study."

"Now the books are arranged according to which characters I believe ought to be talking to each other."

"How often I have felt lonely even when with someone. Lonelier sometimes than when I’m on my own."

"I may be old, but farting and burping in public is not something I intend to succumb to. If I can help it."

"What is done is done and I’ll wait until I get home to see how bad things really are. Consider the birds in the sky, I remind myself. Consider the birds in the sky."

"I dream of being held. Of being touched. Of being desired again. Of being recognized. Of not having to worry about what other people might one day think of this, might already be thinking."

"Madness. Old age is a massacre. No place for sissies. No place for love songs. No place for dreaming. No place for dreaming erotic dreams"

"The architects must only have thought of women when they designed retirement homes, and assumed they liked to sit and stare solemnly at gardens all day."

"I keep remembering the man who repeatedly lifted an empty fork from his plate to his toothless mouth."

"It’s tough out here, and sometimes when I read about Africa, I don’t see America being any better. It’s really a crying shame."

"How could I explain that the way he craved my body made me angry"

"I wonder if I should explain that it’s not that I don’t want to make love, only that after a long day of attending to others I’m craving space."

"Is every, every?’ ‘Everything’s fine,’ I say, sensing her struggle with the words."

"Thanks to my mum, I read many Puffin classics. I loved the miniature Beatrix Potter books, Richard Adam’s Watership Down, and tales of Brer Rabbit. As a child, I was a voracious reader, of books and of people, and still am an inveterate eavesdropper and people-watcher. Snippets of overheard conversations and the faces of people not usually noticed often inspire the stories I write. Wondering about other people’s life stories is what I do."

"I tend to disagree with most end-of-year ‘best of’ arts lists, not so much for what’s on the lists but for what gets overlooked. In the realm of recent films for example, I would have loved more attention to Steve McQueen’s Small Axe series, especially his sonic and visual gem, Lovers Rock and the same for Jeymes Samuel’s directorial debut, The Harder They Fall, a casting tour-de-force. On the writing front, Yewande Omotoso’s novel, An Unusual Grief—a book about friendship, sex, grieving, domesticity, and depression is one that deserves more attention."

"Oh, there are so many! When I think of feature films, I imagine the intense drama of Nawal El Saadawi’s Woman at Point Zero; the quiet grief, as well as the eroticism of Yewande Omotoso’s An Unusual Grief; the forbidden wartime love story of Chinelo Okparanta’s Under the Udala Trees. Short stories such as Segun Afolabi’s ‘Monday Morning’ would also make for powerful and timely feature length films."

"In the realm of a TV series, I think of Wole Soyinka’s political satire Chronicles From The Land of the Happiest People On Earth and NoViolet Bulawayo’s Glory, which might also lend itself to an animated film. There are so many exciting prospects within the genre of documentary films too. Take Hugh Masekela’s Still Grazing—how visually and sonically fabulous such a film could be. I’d also love to see my novels adapted for the screen. In Dependence as a feature film, and Like a Mule Bringing Ice Cream to the Sun, as a TV series. Film broadens and expands our access to stories and opens many new possibilities for creative work."

"The 1960s struck me as such an exciting decade in which to start the novel—it was the time of independence movements across Africa, the Civil Rights movement in the US, and various countercultural movements across Europe. Artists ranging from Bob Dylan to Fela Kuti and the Beatles were amongst many to herald this change. But because I hadn’t lived through this decade myself, I had to do a lot of research for In Dependence for it to feel as historically authentic as possible. I loved the research which included reading back issues of local magazines and newspapers and interviewing people who’d lived through the period."

"Whenever I can’t find stories that I want to read, I try writing them for myself. In this case, I’d met many older women who’d lived colorful lives and yet when it came to fiction, I didn’t find stories that mirrored these lives, especially so when it came to the lives of Black women."

"For my second novel, I did almost no historical research. With Like a Mule Bringing Ice Cream to the Sun I played much more with form and with voice than I’d done in the past. As such, it was particularly gratifying to have the novel shortlisted for the Goldsmiths Prize, a prize that rewards innovative approaches to fiction."

"This book came out of a personal search for greater perspective, inspiration and hope in the context of the current turbulence of our world. I’ve had the great privilege of getting to know the twelve people featured in this book, which allowed me to go beyond their public profiles to the more intimate conversations. They’ve all been an inspiration to me and as such I wanted to share their stories more widely."

"I’ve been surprised by how many young people as well as people who are not from the African Diaspora have found this book an inspiration and a comfort."

"Resist the temptation to write stories you’re expected to write and take inspiration from a wide array of art forms. Use all the tools available to improve your craft. Be innovative, be new! And when a door opens for you, hold it open for others. We all stand on the shoulders of giants and we’re stronger together than on our own."

"I don’t have a single best book, but I enjoyed and learned a lot from the following: actor David Harewood’s memoir: Maybe I Don’t Belong Her: A Memoir of Race, Identity, Breakdown and Recovery; poet Hanif Abdurraqib’s Go Ahead in the Rain: Notes to a Tribe Called Quest; and travel writer, Noo Sara-Wiwa’s Black Ghosts: A Journey into the Lives of Africans in China. I also enjoyed re-reading Hugh Masekela and Michael Cheer’s fabulous Still Grazing: The Musical Journey of Hugh Masekela. I also read a number of great manuscripts including two brilliant chapters from my brother’s work in progress: Common Property: An Intimate History of the 20th Century."

"I love the innovative nature of Olumide Popoola’s writings across literary genres and so I’m very much looking forward to her forthcoming novel, Like Water Like Sea. I am also looking forward to Hala Alyan’s new poetry collection: The Moon That Turns You Back."

"My main goal is to make progress on my current novel. I’d also like to play more with the new tools of artificial intelligence (AI) and have more conversations with writers about the future of writing in this age of AI, not just about what we might lose but what we might gain too."

"I have a number of books in other languages—aspirational books for when my language skills improve enough to be able to read them. I’m particularly keen to read more books by African authors that are not yet translated into English. The two that currently sit on my desk are translations from other European languages: La sombra de la Mulemba—Cuentos Africanos Lusófonos and Matemáticas Congolesas by Koli Jean Bofane. I would love to add to my bookshelves, many more books published in African languages."

"When was the last time you failed or faced rejection as a writer and how did you cope with it and what did you learn from the experience?"

"I’m thinking a lot about the fraught state of our world including the wars in Ukraine and in Gaza. I’ve just started reading The Ukraine by writer Artem Chapeye, who is currently fighting for his country, as well as The Hundred Years’ War on Palestine by Rashid Khalidi. I’m also re-reading David Grossman’s To the End of the Land."

"Toni Morrison’s novel Home for the immense power of her story and the exquisite beauty of her language. I’ve read, re-read and listened to the book being read by the author."

"I usually begin with the idea of a character and then work on getting to know the character better. I’ve learned from actors that if I try to embody my characters physically, by walking, talking, and even dressing like them, then my characters become more real to me and therefore more believable on the page."

"I also never write about characters whose lives I don’t have at least some sense of or a genuine interest in. Having a deep interest in my characters gives me both the confidence and passion to stick with them and write them as best I can."

"It’s still rare to see eroticism explored in elderly female characters, but not so rare for male characters. Thanks to such authors as J.M. Coetzee, Ian McEwan and Philip Roth, I have many literary examples of older men’s desire, but far less when it comes to older women. Yet, when I speak to older women I hear from them many stories about desire– sexual and otherwise. So yes, desire was always going to be an important part of the book."

"The name, Morayo, means “I see joy” in Yoruba, so this already signals to some readers that joy has encircled her from birth. At the same time, Morayo works hard to stay optimistic through the challenges that life brings. She is someone who is interested in narrative and in the same way that she enjoys changing the endings of some of her favorite books, she also tries to embrace narratives that help move her forward rather than getting her stuck or depressed. I suppose I’ve written a character to inspire me."

"Thanks to my character, I too have begun to group my books in non-traditional ways. Thus far, my groupings, unlike Morayo’s, have been less about characters talking to each other and more about pairing authors. For example, I have Marilynne Robinson and Toni Morrison’s Home’s next to each other as well as God Help the Child next to Lila as there are thematic similarities in both pairings."

"And recently, because London has been on my mind, I’ve found myself placing Zadie Smith’s NW next to Brian Chikwava’s Harare North, Muriel Spark’s The Ballad of Peckham Rye and Ben Judah’s This is London. I, like Morayo, am interested in books expanding and enriching the literary landscape. As for my two novels, they currently still sit alphabetically on my shelves, happily wedged in between Jhumpa Lahiri, Amara Lakhous, Javier Marias, and Gabriel Garcia Marquez."

"At the time that I began to write the novel I was simply looking for a really good love story set in my parent’s generation with at least one character from West Africa, and because I couldn’t find such a story, I tried writing it myself. As Toni Morrison says, if there’s a book you want to read but can’t find, then try writing it."

"Had I known that my first novel would become required reading for all students applying to university in Nigeria, I probably wouldn’t have had the courage to write it. It has been an incredible honor for me to have a book read by so many people and especially exciting to know that the novel is, in some small way, inspiring a new generation of writers."

"I don’t find juggling easy. However, for the past few years, I’ve been lucky enough to attend a few writing retreats (such as Hedgebrook) and that always gives my writing a boost. Currently, I’m not teaching, which makes it easier to prioritize my writing. The way that you’ve described your struggle to maintain balance certainly resonates for me."

"In the early stages of any project I need longer periods of unstructured time to delve deeply into the writing and to stick to the project. It’s easier for me to balance several things at once if I’m in the editing and polishing phases of writing. I’m almost always craving more time and solitude to write, but at the same time I know that being engaged in the world is what fuels my writing."

"Going to Hedgebrook was a transformative experience for me. I was already a published author before I went, but the experience of going to Hedgebrook and meeting other writers made me believe in myself as a writer and trust in my own voice more than I’d ever dared to before. I’ve always tried to support fellow writers and Hedgebrook has given me an even wider platform from which to do so."

"I never thought about the confluence of the two books in the way you’ve described it. I love it! This is part of the beauty of writing, being surprised by what others see. Yes, Tayo and Morayo would certainly have a lot to talk about–their relationship might even go further than a platonic one. Who knows! There are certainly thematic similarities between the books, especially around the notion of independence and interdependence. I also see a chronological continuation between both novels. I left Tayo and Vanessa at the end of In Dependence in their sixties and with Like a Mule Bringing Ice Cream to the Sun I moved to a character in her seventies. It would follow, therefore that my next book might feature a character in her eighties and perhaps some younger characters too. Which, coincidentally, at least thus far…is the way book three is looking."

"Thank you, Darlington. My hope is that this book will lead, in some small way, to a deeper and richer understanding of Africa and the African diaspora—of the many things we hold in common as well as our differences. Similarities range from experiences of racism and discrimination to police brutality, and to the fragility of democracies whether we’re talking about Nigeria, Zimbabwe, or America. Differences include personal histories, identities, backgrounds, and geographies."

"There are some in this book, like Michelle Obama, for example, who used the platforms they were given to effect change while others, such as Evan Mawarire, created a movement from the bottom up to speak truth to power. The twelve featured are a tiny subset of many others doing extraordinary things. My hope is that Between Starshine and Clay will inspire more writers to capture such stories and histories."

"Oh, so many things, especially the joyful moments that we shared. I remember, for example, the laughter between old friends Wole Soyinka and Henry Louis Gates Jr. as Soyinka reminisced about Morrison teaching him the phrase “knock your socks off” but then failing to deliver on the promise of knocking his socks off with the choice of a restaurant that Soyinka found lacking—not enough pepper! Or the moment when I asked Morrison if we could talk about sex, to which she responded with a wry smile, “Yeah! I’m in a good position to talk about it, since it’s been like a thousand years. What do you want to know?” Or the day, when walking with 102-year-old Willard Harris, that she insisted I seize the opportunity to travel to the South Pole, repeatedly saying, “You go, girl!” And so it was that the stories and the laughter flowed. I also love the adage that several of them cite, from Michelle Obama to Lord Michael Hastings, Margaret Busby, and Senator Cory Booker—plant trees under whose shade other generations will sit. Each of those featured embodies this evocation."

"How I wish that Baldwin was still with us—he was so wise, and his work feels just as relevant today as it was during his lifetime. Baldwin’s presence is felt throughout this book in part because he meant so much to many of those featured, including Morrison. In Morrison’s eulogy for Baldwin, she refers to three gifts that he gave to her: tenderness, courage, and language. These are gifts that I feel he’s given to all of us, and of course Morrison has left us with similar gifts, too. A copy of Baldwin’s Collected Essays has sat close to my writing desk for more than two decades. It sits alongside Margaret Busby’s groundbreaking anthologies, Daughters of Africa and New Daughters of Africa—my literary taliswomen."

"I have written about Baldwin in Between Starshine and Clay and elsewhere. Baldwin means a lot to me for the following reasons: he inspires me as a writer; he inspires me for his wisdom—his insights and clarity around many issues; and I identify with the various places and peoples of the African diaspora that he writes about from France to America. My introductory essay is a reverent nod to Baldwin’s Notes of a Native Son with its personal exploration of race, histories, and countries lived in."

"Humans are fond of putting people into categories for all sorts of reasons, but oftentimes, especially when it comes to skin color and nationality, for creating hierarchies or pecking orders. As for my experiences of race and identity, that’s a very big question deserving of an essay-length response, hence my introductory chapter."

"But in brief, as a child of a multiracial marriage who has lived in various countries with different histories of race and racism, and as a scholar and novelist for whom race and identity feature fairly prominently in my work, it’s safe to say that these issues are weighty, albeit not to the point of holding me back. Here again is where I take my cue from Baldwin, who advocates remaining committed to the struggle against injustices while keeping one’s heart free of hatred and despair."

"My first thought is that there are, of course, harsher forms of exile. Morayo does at least have a comfortable place to live, food to eat, and access to health care. I also suspect that Morayo, with thoughts of the ethnic and religious strife that had taken place in her home city of Jos, might be quick to say that the internally displaced face the cruelest form of exile."

"In many ways, the story I chose to write is not what readers might associate with the archetypal immigrant or exile story. It’s not a story of someone who has arrived in a country without all the necessary documentation, or of someone living on the edges of society, just barely scraping by. I chose to write about a character who lives a life of the mind and is materially well off. Yet, as you highlight, she too faces hardships and loneliness in her old age."

"I’d met many older women who had lived colorful lives, and yet when it came to fiction I couldn’t find many stories that mirrored this, especially so when it came to the lives of Black women. Similarly, I couldn’t find many books that explored an older woman’s sexuality. I had many literary examples of older men’s desire, but far less when it came to older women, and so I decided to go there, albeit in a small way."

"You mention Abubakar’s wonderful novel, Season of Crimson Blossoms, and I can tell you that when it came out I joked with him that his fifty-five-year-old Bintu could hardly be considered an old woman, at least not in comparison to my Morayo, two decades older. However, I hadn’t yet met Willard Harris, a real-life character and now a dear friend whom I write about in my new book. Mrs. Harris was ninety-seven years old when I first met her, and at that time she had a “gentleman friend” who was at least a decade younger than her. You know what they say about life being stranger or more interesting than fiction."

"Thank you, Darlington, and what a touching story! I’d love to meet your neighbor’s daughter. In terms of what inspired the novel, it was simply as Morrison once put it: If there’s a story you’re dying to read and you can’t find it, then write it. I was looking for a great interracial love story set in geographical locations and historical periods that I was particularly interested in—namely West Africa from the 1960s to present day—and because I couldn’t find that story, I attempted to write it."

"I think that every relationship has its complications, and in the case of Tayo and Vanessa, they had to contend with the added family and societal pressures of being an interracial couple at a time of pervasive colonial attitudes. In the 1960s, there was a great deal of societal resistance to interracial relationships, attitudes that arguably still persist to this day whether in the UK, America, or elsewhere. If I’d written a novel without complications, I also suspect that your neighbor’s daughter would have exercised her spirit of independence and found a different book to immerse herself in."

"I’m so grateful to Adichie for having written Half of a Yellow Sun with its focus on the Nigerian civil war. Her novel, alongside other books with the war at its core, including Soyinka’s memoir The Man Died, Chris Abani’s novella-in-verse Daphne’s Lot, and Chinelo Okparanta’s novel Under the Udala Trees, all give us a greater sense of the events and conditions of that horrific war. While the civil war is not the central focus of In Dependence, it forms part of the tragic backdrop to the story. In Dependence is deeply personal for me in that I am writing about my parents’ generation. This is not my parents’ story, but it could have been their story."

"That’s a really interesting observation. You’re right that there are similarities between the two protagonists. Tayo and Obi are roughly of the same generation, they both win scholarships to study abroad, and they return to Nigeria full of idealism before finding themselves buffeted by some of the same issues and challenges of the day. What’s also interesting is that it’s Vanessa who urges Tayo to read Achebe’s novels. When Tayo does read No Longer at Ease, he’s struck by how tragic the story is but doesn’t, at least not in his letter to Vanessa, go as far as reflecting on how Obi’s story might be relevant to his own life."

"The warmth that I feel toward Okigbo actually comes from hearing my father speak about him. In the late 1950s, my father was one of his students at Fiditi Grammar School, Ibadan, where Okigbo taught Latin and English literature and was also the sports coach. I suspect that my dad, the football team’s goalkeeper, might have been one of Okigbo’s favorite students. He recounts the story of how Okigbo came to him one afternoon and asked if he’d ever traveled in a car that went as fast as one hundred miles an hour. “Hop in,” said Okigbo to my father, and then proceeded to dazzle him with a speedy drive to the University of Ibadan in his red sports car."

"My father describes Okigbo as a fast-speaking, fast-driving, fun-loving, and extremely intelligent young man. He apparently had a flair for languages, routinely reciting passages of Ovid in Latin, and tutoring one student in Greek who subsequently got an A in the Greek exam. My dad also describes how Okigbo, along with the school headmaster, Alex Ajayi, would have various “bashes” over the weekend. They were, as my father later reflected, a high-powered Bloomsbury Group of young intellectuals and scholars. These are stories I wish we had more of, and they’re part of the impetus behind Between Starshine and Clay: Conversations from the African Diaspora."

"In these tumultuous times, I keep returning to James Baldwin’s essays and in particular to his Notes of a Native Son. He reminds me of the importance of holding on to two seemingly contradictory ideas at the same time: staying committed to the struggles against injustices while keeping one’s heart free of hatred and despair."

"As a child, I was a voracious reader, of books and of people, and still am an inveterate eavesdropper and people-watcher. Snippets of overheard conversations and the faces of people not usually noticed often inspire the stories I write. Wondering about other people’s life stories is what I do."

"Henry Louis Gates Jr’s op-ed piece in the New York times, Who’s Afraid of Black History? didn’t change my mind on the topic but it brought much needed perspective and insight to the current curriculum debates in the US."

"“Your Father Walks Like a Crab”"

"Find Someone To Grow Old With, And You’ll Never Grow Old. Find A Cause To Live For, And You’ll Never Die"

"The beauty of poetry shouldn’t be in how well the poet hides meaning between the lines. It should be in how easily he makes his readers discover them. A poem does not have to be difficult to be profound; ‘simple’ and ‘profound’ are not mutually exclusive."

"I think there is no one of us who can boast of having telescopic eyes. But when you read, books become your telescopic eyes. You will see the whole world through the books you have been reading. And you become wiser. If you don’t read any book at all, you will rarely develop."

"when I wrote My Father’s Daughter, some people said it was too good to be true; but it couldn’t be too good to be true, because if you set your mind in good things, you will do good things."

"I still pay tribute to my English teacher, Mrs. Ore Cole, who taught me how to become a writer. It makes you wiser and more intelligent. When you read a lot you eventually want to become a writer."

"Some people who didn’t have better fathers said it was fiction. I said, ‘Well. if you didn’t have the kind of father that I had then there is no point in trying to belittle my own father. My father was a great man'."

"When you write children’s literature, you write for different ages."

"I like to revise my works to be as near perfect as possible."

"Not even crocodiles eat their young...papa takes care of his children."

"If you prefer sitting in traffic to sitting at your desk, if you pass office hours waiting for closing time, if you spend more time on Facebook than you do attending to important emails then perhaps it's time for you to consider quitting your job."

"Be courageous, not brave. Bravery was to dash out of the bomb shelter and grab the child left crying on the veranda. Courage was to go to the stream the day after a bomb had scattered your friend on that path because water must be fetched to sustain the life that was left"

"A people are as healthy and confident as the stories they tell themselves. Sick storytellers can make nations sick. Without stories we would go mad. Life would lose it’s moorings or orientation... Stories can conquer fear, you know. They can make the heart larger."

"Stories can conquer fear, you know. They can make the heart bigger."

"The most authentic thing about us is our capacity to create, to overcome, to endure, to transform, to love, and to be greater than our suffering."

"Don't neglect the gold in your own back yard."

"In the beginning there was a river. The river became a road and the road branched out to the whole world. And because the road was once a river it was always hungry."

"In that land of beginnings spirits mingled with the unborn. We could assume numerous forms. Many of us were birds. We knew no boundaries. There was much feasting, playing, and sorrowing. We feasted much because of the beautiful terrors of eternity. We played much because we were free. And we sorrowed much because there were always those amongst us who had just returned from the world of the Living. They had returned inconsolable for all the love they had left behind, all the suffering they hadn’t redeemed, all that they hadn’t understood, and for all that they had barely begun to learn before they were drawn back to the land of origins."

"You are a mischievous one. You will cause no end of trouble. You have to travel many roads before you find the river of your destiny. This life of yours will be full of riddles. You will be protected and you will never be alone."

""How many times had I come and gone through the dreaded gateway? How many times had I been born and died young? And how often to the same parents? I had no idea. So much of the dust of living was in me. But this time, somewhere in the interspace between the spirit world and the Living, I chose to stay."

"Learn to drink, my son. A man must be able to hold his drink because drunkenness is sometimes necessary in this difficult life."

"The road will never swallow you. The river of destiny will always overcome evil. May you understand your fate. Suffering will never destroy you, but will make you stronger. Success will never confuse you of scatter your spirit, but will make you fly higher into the good sunlight. Your life will always surprise you."

"When I woke up I found myself in a coffin. My parents had given me up for dead. They had commenced the burial proceedings when they heard my fierce weeping. Because of my miraculous recovery they named me a second time and threw a party which they couldn’t afford.They named me Lazaro. But as I became the subject of much jest, and as many were uneasy with the connection between Lazaro and Lazarus, Mum shortened my name to Azaro."

"One human life is deeper than the ocean. Strange fishes and sea-monsters and mighty plants live in the rock-bed of our spirits. The whole of human history is an undiscovered continent deep in our souls. There are dolphins, plants that dream, magic birds inside us. The sky is inside us. The earth is in us."

"This is what you must be like. Grow wherever life puts you down."

"A man must be able to hold his drink because drunkenness is sometimes necessary in this difficult life."

"We disliked the rigours of existence, the unfulfilled longings, the enshrined injustices of the world, the labyrinths of love, the ignorance of parents, the fact of dying, and the amazing indifference of the Living in the midst of the simple beauties of the universe. We feared the heartlessness of human beings, all of whom are born blind, few of whom ever learn to see."

"A dream can be the highest point of a life"

"Before everything was born there was first the spirit. It is the spirit which invites things in, good things, or bad. Invite only good things, my son. Listen to the spirit of things. To your own spirit. Follow it. Master it. So long as we are alive, so long as we feel, so long as we love, everything in us is an energy we can use. There is a stillness which makes you travel faster. There is a silence which makes you fly. If your heart is a friend of Time nothing can destroy you."

"Many people reside in us. Many past lives, many future lives. If you listen carefully the air is full of laughter. Human beings are a great mystery."

"There will be changes. Coups. Soldiers everywhere. Ugliness. Blindness. And then when people least expect it a great transformation is going to take place in the world. Suffering people will know justice and beauty. A wonderful change is coming from far away and people will realise the great meaning of struggle and hope. There will be peace."

"Apart from a mark on my palm I had managed to avoid being discovered. It may simply have been that I had grown tired of coming and going. It is terrible to forever remain in-between."

"The clearing was the beginning of an expressway. Building companies had levelled the trees. In places the earth was red. We passed a tree that had been felled. Red liquid dripped from its stump as if the tree had been a murdered giant whose blood wouldn’t stop flowing."

"The law is simple. Every experience is repeated or suffered till you experience it properly and fully the first time."

"I love your loneliness. It is brave. It makes the universe want to protect you."

"When you stop inventing reality then you see things as they really are."

"I kept looking forward the answer to things. I kept looking, and I never saw, and I became lost. I lost myself, lost my own reality."

"Bad things will happen and good things too. Your life will be full of surprises. Miracles happen only where there has been suffering. So taste your grief to the fullest. Don’t try and press it down. Don’t hide from it. Don’t escape. It is life too. It is truth. But it will pass and time will put a strange honey in the bitterness. That’s the way life goes."

"So long as a canvas is empty its potential is infinite… The empty canvas can become a gateway into the landscape of nightmares or a vision of sensual bliss."

"If your work can surprise you then you have started something worthwhile."

"For your reflections reflect on the things you do. And the things you do reflect on you."

"Quiet people are the most dangerous."

"Craft is important. The greater the idea, the greater the craft you need."

"Our society is a battlefield. Poverty, corruption and hunger are the bullets. Bad governments are the bombs."

"Be like the tortoise- grow a hard shell to protect your strong heart. Be like the eagle- soar above your pain and carry the banner and the wonder of our lives to the farthest corners of the world. Build your strength. Destiny is difficult."

"Responsibility is active. Vigilant. Actions become character and character becomes destiny. . .the moment you see something is wrong, you have a responsibility."

"What hope is there for individual reality or authenticity when the forces of violence and orthodoxy, the earthly powers of guns and bombs and manipulated public opinion make it impossible for us to be authentic and fulfilled human beings? The only hope is in the creation of alternative values, alternative realities. The only hope is in daring to redream one's place in the world - a beautiful act of imagination, and a sustained act of self becoming. Which is to say that in some way or another we breach and confound the accepted frontiers of things."

"Reading, therefore, is a co-production between writer and reader. The simplicity of this tool is astounding. So little, yet out of it whole worlds, eras, characters, continents, people never encountered before, people you wouldn’t care to sit next to in a train, people that don’t exist, places you’ve never visited, enigmatic fates, all come to life in the mind, painted into existence by the reader’s creative powers. In this way the creativity of the writer calls up the creativity of the reader. Reading is never passive."

"If we could be pure dancers in spirit we would never be afraid to love, and we would love with strength and wisdom."

"To see the madness and yet walk a perfect silver line. ... That's what the true story-teller should be: a great guide, a clear mind, who can walk a silver line in hell or madness."

"Without stories we would go mad. Life would lose its moorings or lose its orientations. even in silence we are living our stories."

"What if by sheer repetition we become the person we most often pretend to be? Does that mean there is no authentic self? Are we made of habits, compressed by time, like layered rocks?"

"Maybe true travel is not the transportation of the body, but a change of perception, renewing the mind."

"Inverse of the word live is evil."

"How the city attracts all types and how the unwary must suffer from ignorance of its ways."

"His motto had become money, money, money. This was the way people of the city realized themselves."

"We want a new life, new opportunities ... We want to live there for some time -- but only for some time ! We have our homeland here and must come back when we can answer your father's challenge ! When we have done something, become something!"

"But now things are different. Yes, things are gradually passing into African hands. Soon al the power will be in our hands. It's worth fighting for."

"He looked out of the window, as if the interview gave him some pain, and for a moment I studied him silently."

"He looked over his shoulder, like a thief entering a strong room, and his voice sank low."

"I wish I could tell you my story…I feel you would understand”…. to a stranger he met fortuitously on the train and for two days had travelled with in silence"

"....I was born sixty-five years ago, at a time when man was man, and women were won by those who deserved them."

"....Tonight, one of you is going to win the hand of my daughter Zarah. But he must be the bravest of you all. We live in times when a man’s might is his right."

"the cry of someone in great pain, a person who immediate help would mean everything."

"can you hear me now? I shall not rest, for I shall know no peace until I have avenged you."

"Not a war. But then, it was a war. When the forest burns do the locusts stop to say goodbye?"

"I say there has been a war. If a fish comes out of the water and says the crocodile has one eye, who has been there with him?"

"Night might convert the old devil into a fiend."

"A maiden is one of those things a man must not trust. By Allah, it is!"

"He who waits will see what is in the grass."

"You pay twenty head of cattle for a maiden because you are excited. Then when your head is cool, you begin to say "If I had known!"

"On the day of death, there is no medicine."

"Bombing the Terrorists with planes from the skies is not enough, we have to go to the source of their sinning souls and bomb them, condemn them and shame them, with all the power of our pens, our computers, our smartphones and our creative works!"

"Our writers must continue to educate our people and promote the cause of nation-building by producing powerful, inspiring and enduring works of art."

"....The prestige African literature enjoys globally today is a result of the ground-breaking work done by Achebe (especially with his Things Fall Apart) and a few other writers like him."

"In a society, a woman should be able to tolerate others, work with others and maintain a very humble attitude towards others but at the same time be herself."

"My mum always taught us not to expect favours but to work hard to make our way in life and to aim to get things through merit."

"Men and women complement each other in a home and in the society at large. God has given each a place, a role and responsibilities. It does not make one any better than the other or give any the right to lord it over or ill-treat the other."

"I believe this was their way of ensuring we understood our heritage, where we came from, who we were and what we stood for. I think that is really key for any child to know who they are and be proud and confident in that.""

"IN SOCIAL JUSTICE, ACTIVISTS WHO RAGE IN THEIR SMALL TWITTER AND FACEBOOK CORNERS, WHO HOLD UP PLACARDS IN THE FACE OF INJUSTICE OR A NEED ARE REBELS."

"I WOULD CHANGE HOW THE WORLD PERCEIVES WOMEN”"

"The ocean refused to be still; it took more, claimed more, and retreated less but paradoxically the hungry sea left behind more of its unwanted children, its vomit littering Scorpion’s little patch of beach-front: a seagull’s skull, uncapped beer bottles, horse scat, empty packets of cigarettes, the left foot of a size twelve shoe, a dead army of used condoms, and an old deflated football."

"She stared at her reflection in the huge mirror… she hated the sight that greeted her – the large landscape of a forehead, the flared nostrils that were begging for a surgeon’s knife, the puffy lips, the spaced out eyes and the gap between the two incisors, which could clearly accommodate another tooth. She was a monstrosity to look at without make-up."

"A conglomeration of roguishly built shanty homes, it flanked the Sambo creek, a torrid expanse of water twisting like loins to the sea."

"Once you set foot in Underground City, you felt its touch and its breath on you."

"That yellow house wey get green-white-green for doormat and opposite am you go see Mama Sikirat beer parlour or when you reach the end of the street, you go see one plank like bridge wey dey near Holy Ghost Church, cross am and in front you go see the house wey get tap for de front.”"

"Outside, a bird chirruped short piercing cries, like mocking laughter."

"I can take care of myself."

"What's the difference between a Yanmirin and an animal? Can the offspring of a hen be a duck?"

"Our father and our God, are ask that you cure Anjola of her Yoruba stubbornness! Our merciful father, we know that Yoruba Stubbornness is a serious disease; it is a disease that is difficult to cure but we trust in your supreme power, oh God, because you are the God of Possibilities."

"Inter-ethnic marriage [I]s a weapon of peace and harmonious co-existence among the numerous ethnic groups in Nigeria."

"Don't look at your travails as a north-west problem. It's a national problem. The country needs help."

"You are a fresh graduate with little knowledge of the dynamics of your country. The northerners are good people but you've got to be ready to identify with them, demonstrate that you are a part of them, before you can benefit from their kindness[...] You have to claim to be a northerner to get a job in the north."

"Is it true that Igbo people in Imo are better than those in Anambra? That they are more hospitable, better organised and generally more elevated?"

"The Anambra Igbos are not just good, they are far better than the Imo Igbos.The Anambra people are the genuine and authentic Igbos. Besides, look around you, nearly every great Igbo person in this country is from Anambra - Nnamdi Azikiwe, Chinua Achebe, Odumegwu Ojukwu, Emeka Anyoku; the list is long. You have spent close to one year in Anambra and you have tasted their hospitality. What further proof do you need?"

"When I arrived home... [I] met my mother sitting on the cement slab outside the kitchen door, looking agitated. She said my father had gone out with Ify because Dayo, my immediate elder brother, wanted to make trouble. She said Dayo was categorical in his rejection of Ify because he was Igbo and had threatened to ensure that the marriage never happened... My mother said there was something disturbing about the way he spoke; she said she detected a level of vehemence that was troublesome... Finally, everybody was home and all hell was let loose. Dayo's vituperations astounded me."

"I took a firm decision also not to share my misery with any of my mates because I knew what advice most of then would proffer. They would tell me I had no option but to succumb. They would give me a thousand and one names of students, past and present, who had succumbed; that I should be 'realistic'. And so I kept the matter to myself. I was suffering internally; I was going through agony trying to think of a way out. Nonetheless, I managed to maintain a calm exterior as I went about my other academic activities."

"there are only two things that 'qualify' an individual to even nurse a political ambition in our country... They are money and the strong backing of a godfather."

"When a man is looking... happy..., the woman in his life deserve commendation."

"“hellish” to travel to work in the morning and a “nightmare of intractable traffic and bad roads” in the evening"

"It was home of the legendary CMS Grammar School, the oldest secondary school in the country, as well as Methodist Boys’ High School. It was also home to some movie stars and music icons like Obesere, Olamide, 9ice and Lil Kesh. Prominent tertiary institutions such as the University of Lagos and the Federal College of Education, Technical were just down the road."

"The unfortunate class of homeless Lagosians"

"“‘Oga mi, wole kanle, eleyi gbomo,’” – “My boss, you need to park properly; this passenger has a child with them"

"Makoko is what the outsiders had originally called our settlement hundreds of years ago, due to its abundance of akoko leaves, and the name stuck for the community on the Lagos coast just across from the Third Mainland Bridge. To strangers, it’s a slum, a metallic and wooden eyesore built over a stinking bed of ever-mounting sewage, spreading out across the smoke-filled horizon. For the government, it’s the impediment between even larger coffers for them and prime waterfront real estate. But to us, who are from here, Makoko is simply home."

"The Nigerian government likes to pretend that we don’t exist, but we’ve been here for hundreds of years, our wooden houses resting proudly on their stilts above Lagos’s charcoal-coloured lagoon. We’ll remain here for some time, no matter how many attempts they make to push us out."

"A person must have many other lives on Makoko in order to eat and sleep."

"Parents dream of us leaving Makoko and doing better than they did for them- selves, and eventually we dream it too, all the while knowing it to be an elusive fantasy."

"...Not many of us have done it, yet that hope pulses within us like a beacon."

"An award is a landmark for any writer, because it shows that it is a measure of a standard that you have improved in your writing."

"This is an insightful drama about people groping in the dark in their search for the truth until they come into contact with the saving knowledge of Jesus Christ ( The Way, The Truth and The Life, The Only Way back to God), give their lives to Jesus, accept Him as their personal Saviour and Lord and have eternal life."

"The study shows that the evidence is overwhelming: prevention is a crucial and effective way to address substance use and disorders associated with it. By investing in prevention programmes and strategies, we can actually reduce the risk factors which lead to substance use disorder, improve the overall health and well-being and save lives. It is high time we shifted our focus from treating solely substance use disorder to also investing in prevention."

"It describes vividly the role played by Nigerian educational institutions in shaping African Literature.The presentation makes it abundantly clear that Nigerian educational institutions (both formal and informal) play a significant role in shaping creative African Literature through encouraging creative writing programmes and workshops, establishing literary clubs and organisations, hosting literary festivals and events, providing resources and mentorship, among others.A few recommendations are proffered. Parents at home and school authorities in schools should encourage the young ones to develop their creative writing abilities and have a great passion for African Literature."

"The issue of which language is most appropriate for expressing an authentic African experience in creative African writing is a polemic one. Opinions are divided on what can best express African Literature and what African Literature is. This essay makes a synopsis of the views of the various schools of thought on both subjects before taking a position. It maintains that the medium of African literary expression, in the particular circumstance, French, faces the challenges of globalization and liberalization so much so that it has passed from its derogatory status of colonial master's language/Foreign or European Language in colonial African Literature to sarcastic but more acceptable inherited or imported language in postcolonial Francophone African Literature. The present trend, in postmodern African creative writing of French Expression, shows a marked evolution and transformation ..."

"A system of communication which consists of a set of sounds and written symbols which are used by the people of a particular country or region for talking or writing"

"This definition introduces the element of ethnicity or regionalism."

"A language is shared by an ethnic group or a particular country or region."