Chimamanda Ngozi Adichie Quotes
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Americans think African writers will write about the exotic, about wildlife, poverty, maybe AIDS. They come to Africa and African books with certain expectations.
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My greatest vanity is my skin. It is the colour of gingerbread and, thanks to my mother's genes, smooth and mostly blemish-free.
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I think the history of western feminism is one that is fraught with racism, and I think it's important to acknowledge that and, at the same time, to say that feminism is not the western invention, that my great-grandmother in what is now south-western Nigeria is feminist.
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It is easy to romanticize poverty, to see poor people as inherently lacking agency and will. It is easy to strip them of human dignity, to reduce them to objects of pity. This has never been clearer than in the view of Africa from the American media, in which we are shown poverty and conflicts without any context.
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I think that because human difference for so long, in all its various forms, has been the root of so much oppression, sometimes there's the impulse to say let's deny the difference, as though by wishing away the difference we can then wish away the oppression.
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Some men feel threatened by the idea of feminism. This comes, I think, from the insecurity triggered by how boys are brought up, how their sense of self-worth is diminished if they are not 'naturally' in charge as men.
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I sort of consider myself a Nigerian who spends a lot of time in the U.S.
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Evil is tolerable if purged of coarseness.
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Nobody just leaves medical school, especially given it's fiercely competitive to get in. But I had a sister who was a doctor, another who was a pharmacist, a brother who was an engineer. So my parents already had sensible children who would be able to make an actual living, and I think they felt comfortable sacrificing their one strange child.
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Creative writing programmes are not very necessary. They just exist so that people like us can make a living.
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You know, I don't think of myself as anything like a 'global citizen' or anything of the sort. I am just a Nigerian who's comfortable in other places.
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I am a person who believes in asking questions, in not conforming for the sake of conforming. I am deeply dissatisfied - about so many things, about injustice, about the way the world works - and in some ways, my dissatisfaction drives my storytelling.
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I think I'm ridiculously fortunate. I consider myself a Nigerian - that's home; my sensibility is Nigerian. But I like America, and I like that I can spend time in America.
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Nigerian politics has been, since the military dictatorships, largely non-ideological. Rather than a battle of ideas, it is about who can pump in the most money and buy the most access.
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To return to the books of my childhood is to yield to the strain of nostalgia that is curious about the self I once was.
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Gender is not an easy conversation to have. It makes people uncomfortable, sometimes even irritable. Both men and women are resistant to talk about gender or are quick to dismiss the problems of gender. Because thinking of changing the status quo is always uncomfortable.
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I ask questions. I watch the world. And what I have discovered is that the parts of my fiction that people most tell me are 'unbelievable' are those that are most closely based on the real, those least diluted by my imagination.
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Perhaps it is time to debate culture. The common story is that in 'real' African culture, before it was tainted by the West, gender roles were rigid and women were contentedly oppressed.
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I realized that I was African when I came to the United States. Whenever Africa came up in my college classes, everyone turned to me. It didn't matter whether the subject was Namibia or Egypt; I was expected to know, to explain.
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I am drawn, as a reader, to detail-drenched stories about human lives affected as much by the internal as by the external, the kind of fiction that Jane Smiley nicely describes as 'first and foremost about how individuals fit, or don't fit, into their social worlds.'
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I own things I like, but nothing inanimate that I treasure in a deeply consuming way.
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Girls are socialised in ways that are harmful to their sense of self - to reduce themselves, to cater to the egos of men, to think of their bodies as repositories of shame. As adult women, many struggle to overcome, to unlearn, much of that social conditioning.
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While writing 'Half of a Yellow Sun,' I enjoyed playing with minor things: inventing a train station in a town that has none, placing towns closer to each other than they are, changing the chronology of conquered cities. Yet I did not play with the central events of that time.
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' The only reason you say that race was not an issue is because you wish it was not. We all wish it