There are people who say that if you are told that your house has fallen you don't ask what about the ceiling or what about the windows. The main thing is that this house, Africa, has fallen. Literature is just one aspect, pick any aspect of the situation.

I couldn't tell you why but now I know a story is in fact where you discover who you are, where a culture discovers what it is and I just think that this is a terribly important place to get into and that I would enjoy it.

If I say look unless you change your leaders I will not give you any aid, you are likely to have people who say: "To the hell with you, we will struggle on the way but we will do it". Therefore what I am saying is - and I do not whether it is coming through clearly - there has to be a lot of care exercised by the people who are in the position to give or withhold assistance: if they start throwing their weight around, using extreme language, seeming to order other nations to do their bidding, then there will not be a good result, it will not be done.

The women are, of course, the biggest single group of oppressed people in the world and, if we are to believe the Book of Genesis, the very oldest.

Art is created to make us, to make our passage through the world better, fruitful - and I would say that every story in the end, if it is good, tells us something. This is actually what I meant when I said a novelist is a teacher. Which is why I am constantly dealing with "didactic". Now a teacher in the sense I use it is not somebody who has the profession of standing in front of children, with a piece of chalk in his hand scribbling on the blackboard. That is not the teacher I have in mind. The teacher I have in mind is something less tangible.

The price a world language must be prepared to pay is submission to many different kinds of use. The African writer should aim to use English in a way that brings out his message best without altering the language to the extent that its value as a medium of international exchange will be lost. He should aim at fashioning out an English which is at once universal and able to carry his peculiar experience.

Privilege, you see, is one of the great adversaries of the imagination; it spreads a thick layer of adipose tissue over our sensitivity.