Chimamanda Ngozi Adichie's Quotes

I've always been curious about how much of our cultural baggage we bring to what and how we read. I suspect we bring a lot, although we like to think we don't.

If I were not African, I wonder whether it would be clear to me that Africa is a place where the people do not need limp gifts of fish but sturdy fishing rods and fair access to the pond. I wonder whether I would realize that while African nations have a failure of leadership, they also have dynamic people with agency and voices.

If you followed the media you'd think that everybody in Africa was starving to death, and that's not the case; so it's important to engage with the other Africa.

In particular I want to talk about natural black hair, and how it's not just hair. I mean, I'm interested in hair in sort of a very aesthetic way, just the beauty of hair, but also in a political way: what it says, what it means.

In primary school in south-eastern Nigeria, I was taught that Hosni Mubarak was the president of Egypt. I learned the same thing in secondary school. In university, Mubarak was still president of Egypt. I came to assume, subconsciously, that he - and others like Paul Biya in Cameroon and Muammar Gaddafi in Libya - would never leave.

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.

Lasting love has to be built on mutual regard and respect. It is about seeing the other person. I am very interested in relationships and, when I watch couples, sometimes I can sense a blindness has set in. They have stopped seeing each other. It is not easy to see another person.

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.

'No Sweetness Here' is the kind of old-fashioned social realism I have always been drawn to in fiction, and it does what I think all good literature should: It entertains you.

Non-fiction, and in particular the literary memoir, the stylised recollection of personal experience, is often as much about character and story and emotion as fiction is.

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.

Sometimes novels are considered 'important' in the way medicine is - they taste terrible and are difficult to get down your throat, but are good for you.

The best novels are those that are important without being like medicine; they have something to say, are expansive and intelligent but never forget to be entertaining and to have character and emotion at their centre.

The novels I love, the ones I remember, the ones I re-read, have an empathetic human quality, or 'emotional truth'. This quality is difficult to fully define, but I always recognise it when I see it: it is different from honesty and more resilient than fact, something that exists not in the kind of fiction that explains but in the kind that shows.

The problem with looking in the mirror is that you never know how you will feel about what you see. Sometimes, when my hormones are out of sync, I have no interest in the mirror, and if I do look I think everything is all wrong. Other times, I am quite pleased with what I see.

What I find problematic is the suggestion that when, say, Madonna adopts an African child, she is saving Africa. It's not that simple. You have to do more than go there and adopt a child or show us pictures of children with flies in their eyes. That simplifies Africa.

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.

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.

I divide my time between Columbia, Maryland, and Lagos, Nigeria.

I live half the year in Nigeria, the other half in the U.S. But home is Nigeria - it always will be. I consider myself a Nigerian who is comfortable in the world. I look at it through Nigerian eyes.

Creative writing programmes are not very necessary. They just exist so that people like us can make a living.

I can write with authority only about what I know well, which means that I end up using surface details of my own life in my fiction.

I find that women... deal with immigration differently. And I'm interested in that.

I have been writing since I was old enough to spell. I have never considered not writing.

I like the U.S. and feel gratitude towards it.

I own things I like, but nothing inanimate that I treasure in a deeply consuming way.