I break that down in the novel, and in that sense it’s no different from novels I’ve read about suburban life in the United States, England and elsew… - Sefi Atta

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I break that down in the novel, and in that sense it’s no different from novels I’ve read about suburban life in the United States, England and elsewhere, except it has moments of political intrigue and turmoil. I juxtapose these extraordinary national moments and ordinary domestic moments to give a realistic portrayal of how we lived. Perhaps my real motive is to depict Nigeria as one big dysfunctional family.

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About Sefi Atta

Sefi Atta (born January 1964) is a prize-winning Nigerian-American novelist, short-story writer, playwright and screenwriter. Her books have been translated into many languages, radio plays have been broadcast by the BBC, and her stage plays have been performed internationally. Awards she has received include the 2006 Wole Soyinka Prize for Literature in Africa and the 2009 Noma Award for Publishing in Africa.

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If anyone says they fit in nicely with the Nigerian upper class, I would have to come to the conclusion that they are thoughtless. No one is responsible for their upbringing and no one deserves to be defined by any social class. My late father was the son and great-grandson of traditional rulers and he attended Oxford University. I often joke that the women in my mother’s family carry themselves as if they are royalty. They are proud of their parents, who worked hard to educate them.

In this particular novel, the Fanon quotation identifies the process we’re going through and explains our failures so far. What I then do is show we are products of complex pre- and postcolonial systems that determine our orientations. The heart of the story, though, is Remi Lawal’s difficult relationship with Nigeria.

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