Chinua Achebe Quotes

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 point in all this is that language is a handy whipping boy to summon and belabor when we have failed in some serious way. In other words, we play politics with language, and in so doing conceal the reality and the complexity of our situation from ourselves and from those foolish enough to put their trust in us.

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.

I tell my students, it's not difficult to identify with somebody like yourself, somebody next door who looks like you. What's more difficult is to identify with someone you don't see, who's very far away, who's a different colour, who eats a different kind of food. When you begin to do that then literature is really performing its wonders.

The world is large,” said Okonkwo. “I have even heard that in some tribes a man’s children belong to his wife and her family.”

“That cannot be,” said Machi. “You might as well say that the woman lies on top of the man when they are making the babies.

The impatient idealist says: 'Give me a place to stand and I shall move the earth.' But such a place does not exist. We all have to stand on the earth itself and go with her at her pace.

Charity . . . is the opium of the privileged.

Nobody can teach me who I am.

There is a moral obligation, I think, not to ally oneself with power against the powerless.

Until the lions have their own historians, the history of the hunt will always glorify the hunter.

...Let me say that I do think decency and civilization would insist that the writer take sides with the powerless. Clearly, there's no moral obligation to write in any particular way. But there is a moral obligation, I think, not to ally oneself with power against the powerless. I think an artist, in my definition of that word, would not be someone who takes sides with the emperor against his powerless subjects.

It began to dawn on me that although fiction was undoubtedly fictitious it could also be true or false, not with the truth or falsehood of a news item but as to its disinterestedness, its intention, its integrity.

I do not see that it is necessary for any people to prove to another that they build cathedrals or pyramids before they can be entitled to peace and safety.

Paradoxically, a saint like [Albert] Schweitzer can give one a lot more trouble than King Leopold II, villain of unmitigated guilt, because along with doing good and saving African lives Schweitzer also managed to announce that the African was indeed his brother, but only his junior brother.

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.