Children S Authors

"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!"

"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"

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

"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."

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

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

"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."

"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."

"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."

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

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

"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)"

"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."

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

"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."

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

"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."

"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."

"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."

"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."

"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."

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

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

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

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

"Lame foot in the air."

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

"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."

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

"A dead end nor total loss."

"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."

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

"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."

"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."

"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."

"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."

"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."