Chinua Achebe Quotes - Page 8

Once a novel gets going and I know it is viable, I don't then worry about plot or themes. These things will come in almost automatically because the characters are now pulling the story.

There is no story that is not true, [...] The world has no end, and what is good among one people is an abomination with others.

My parents were early converts to Christianity in my part of Nigeria. They were not just converts; my father was an evangelist, a religious teacher. He and my mother traveled for thirty-five years to different parts of Igboland, spreading the gospel.

Those who are talking sharia in Nigeria are really just politicians exploiting what they think is available. But if it should turn out that there are in fact whole sections of the country which believe that it is legitimate to chop off peoples hands because they stole a hen - if that should really turn out to be the genuine belief of responsible, educated people in the North than I would say there is no chance. But I do not believe that is the case. The sharia was always there but it was never force onto non-Muslims and it was not ever applied in the area of criminal law.

Mr. Brown had thought of nothing but numbers. He should have known that the kingdom of God did not depend on large crowds. Our Lord Himself stressed the importance of fewness. Narrow is the way and few the number. To fill the Lord's holy temple with an idolatrous crowd clamoring for signs was a folly of everlasting consequence. Our Lord used the whip only once in His life - to drive the crowd away from His church.

The writer is often faced with two choices--turn away from the reality of life's intimidating complexity or conquer its mystery by battling with it. The writer who chooses the former soon runs out of energy and produces elegantly tired fiction.

I don't care about age very much.

When Rimbaud became a slave trader, he stopped writing poetry.

We know the potentiality of Nigeria and the talent and the resources and to see it having no effect on the lives of the people, on the infrastructure, the roads, the hospitals, the schools, seeing no effect of these talents, these recourses is very frustrating. But it is the result of the damage that was done to the country, especially during the various military regimes.

Unoka went into an inner room and soon returned with a small wooden disc containing a kola nut, some alligator pepper and a lump of white chalk. "I have kola," he announced when he sat down, and passed the disc over to his guest. "Thank you. He who brings kola brings life. But I think you ought to break it," replied Okoye passing back the disc. "No, it is for you, I think," and they argued like this for a few moments before Unoka accepted the honor of breaking the kola. Okoye, meanwhile, took the lump of chalk, drew some lines on the floor, and then painted his big toe.

There is something about important stories that is not just the message, but also the way that message is conveyed, the arrangement of the words, the felicity of the language. So it's really a balance between your commitment, whether it's political or economic or whatever, and your craft as an artist.

Real tragedy is never resolved. It goes on hopelessly for ever.

A good leader for instance is somebody like Nelson Mandela. I do not have seen such people coming every generation, maybe every ten generations, every hundred generations. People who are miracle workers.

I think back to the old people I knew when I was growing up, and they always seemed larger than life.

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.

What really worries me is that those who are in positions of power are not really affected by what we are writing. In the moral dialogue you want to start, you really want to involve the leaders. People ask me: "Why were you so bold as to publish A Man of the People? How did you think the Government was going to take it? You didn't know there was going to be a coup?" I said rather flippantly that nobody was going to read it anyway, so I wasn't likely to be fired from my official position. It's a distressing thought that we cannot engage our leaders in the kind of moral debate we need.

It's so easy to get into the same routine. A novel every two years; perhaps, improving technique. But I'm not interested in that. I'm interested in doing something fundamentally important--and therefore, it needs time. And what I've been doing, really, is avoiding this pressure to get into the habit of one novel a year. This is what is expected of novelists. And I have never been really too much concerned with doing what is expected of novelists, or writers, or artists. I want to do what I believe is important.

I don't like to see mistakes on the typewriter. I like a perfect script. On the typewriter I will sometimes leave a phrase that is not right, not what I want, simply because to change it would be a bit messy.

My position is that serious and good art has always existed to help, to serve, humanity. Not to indict. I don’t see how art can be called art if its purpose is to frustrate humanity. To make humanity uncomfortable, yes. But intrinsically to be against humanity, that I don’t take.

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.

When I began going to school and learned to read, I encountered stories of other people and other lands.

A pen on paper is the ideal way for me. I am not really very comfortable with machines; I never learned to type very well.

I don't praise my people. I am their greatest critic.

We must now turn from considering the necessary struggle with language arising, as it were, from its very nature and the nature of the society it serves to the more ominous threat to its integrity brought about neither by its innate inadequacy nor yet by the incompetence and carelessness of its ordinary users, but rather engineered deliberately by those who will manipulate words for their own ends.

One would think he never sucked at his mother’s breast.