For people who are coming out of an oral tradition, it is very exciting to get into reading and writing and it is quite interesting how frequently people want to write their own story. Sometimes it is straight history - this is how we came about, how our town was created, a lot of that kind of effort, as soon as literacy came. The first thing you wanted to do was to put something down about who you are or how you are related to you neighbors. Then the next stage would be the stories, the cultural part of the story: this is the kind of world our ancestors made or aspired to.

The story of this man who had killed a messenger and hanged himself would make interesting reading. One could almost write a whole chapter on him. Perhaps not a whole chapter but a resonable paragraph, at any rate. There was so much else to include, and one must be firm in cutting out details. He had already chosen the title of the book, after much thought: `The Pacification of the Primitive Tribes of the Lower Niger.'

I think that is one of the first things that I got clear in my mind when I began to play around with fiction, that I had to find a language and it was not in existance at the time. You have put it very well - it wasn't to be taken for granted. You had to go on and search until you found a way through the conversation of English and Igbo. The two languages stuck into each other and tried to find a way to express through one, the medium of the thoughts. That's a very exciting thing to do, a very difficult thing to do.

There are things the story must have or else look incomplete. And these will almost automatically present themselves. When they don't, you are in trouble and then the novel stops.

A child cannot pay for its mother’s milk.

It has always been quite apparent to me that no important story can fail to tell us something of value to us.

Unless I'm writing in the Igbo language, I use a language developed elsewhere, which is English. That affects the way I write. It even affects to some extent the stories I write.