Igbo sayings and proverbs are far more valuable to me as a human being in understanding the complexity of the world than the doctrinaire, self-righteous strain of the Christian faith I was taught.
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Chinua Achebe
Chinua Achebe (/ˈtʃɪnwɑː əˈtʃɛbɛ/, born Albert Chinụalụmọgụ Achebe; 16 November 1930 – 21 March 2013) was a Nigerian novelist, poet, professor, and critic. His first novel Things Fall Apart (1958), often considered his best, is the most widely read book in modern African literature. Raised by his parents in the Igbo town of Ogidi in South-Eastern Nigeria, Achebe excelled at school and won a scholarship to study medicine, but changed his studies to English literature at University College (now the University of Ibadan). He became fascinated with world religions and traditional African cultures, and began writing stories as a university student. After graduation, he worked for the Nigerian Broadcasting Service (NBS) and soon moved to the metropolis of Lagos. He gained worldwide attention for his novel, Things Fall Apart in the late 1950s; his later novels include No Longer at Ease (1960), Arrow of God (1964), A Man of the People (1966), and Anthills of the Savannah (1987). Achebe wrote his novels in English and defended the use of English, a "language of colonisers", in African literature. In 1975, his lecture An Image of Africa: Racism in Conrad's "Heart of Darkness" featured a famous criticism of Joseph Conrad as "a thoroughgoing racist"; it was later published in The Massachusetts Review amid some controversy. When the region of Biafra broke away from Nigeria in 1967, Achebe became a supporter of Biafran independence and acted as ambassador for the people of the new nation. The war ravaged the populace, and as starvation and violence took its toll, he appealed to the people of Europe and the Americas for ai
The Igbo are a very democratic people. The Igbo people expressed a strong antimonarchy sentiment—Ezebuilo—which literally means, a king is an enemy. Their culture illustrates a clear-cut opposition to kings, because, I think, the Igbo people had seen what the uncontrolled power of kings could do.
At the end of the thirty-month war Biafra was a vast smoldering rubble. The head count at the end of the war was perhaps three million dead, which was approximately 20 percent of the entire population.
Ghana was a particularly relevant example for us subjects in the remaining colonies and dominions of the British Empire. There was a growing confidence, not just a feeling, that we would do just as well parting ways with Her Majesty’s empire. If Ghana seemed more effective, as some of our people…
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…
Most writers who are beginners, if they are honest with themselves, will admit that they are praying for a readership as they begin to write. But it should be the quality of the craft not the audience, that should be the greatest motivating factor. For me, at least, I can declare that when I wrote…
In my definition I am a protest writer, with restraint.
What I can say is that it was clear to many of us that an indigenous African literary renaissance was overdue. A major objective was to challenge stereotypes, myths, and the image of ourselves and our continent, and to recast them through stories—prose, poetry, essays, and books for our children.…
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,…
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…
Every generation must recognize and embrace the task it is peculiarly designed by history and by providence to perform.
There is a moral obligation, I think, not to ally oneself with power against the powerless.
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…
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.
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…
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…
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…