When I began going to school and learned to read, I encountered stories of other people and other lands. In one of my essays, I remember the kind of things that fascinated me. Weird things, even, about a wizard who lived in Africa and went to China to find a lamp... Fascinating to me because they were about things remote, and almost ethereal.

The damage done in one year can sometimes take ten or twenty years to repair.

And theories are no more than fictions which help us to make sense of experience and which are subject to disconfirmation when their explanations are no longer adequate.

At the most one could say that his chi or ... personal god was good. But the Ibo people have a proverb that when a man says yes his chi says yes also. Okonkwo said yes very strongly; so his chi agreed.

The sun will shine on those who stand before it shines on those who kneel under them.

There is something about important stories that is not just the message, but also the way that message is conveyed, the arrangement of the words, the felicity of the language. So it's really a balance between your commitment, whether it's political or economic or whatever, and your craft as an artist.

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.