The people you see in Nigeria today have always lived as neighbors in the same space for as long as we can remember. So it's a matter of settling down, lowering the rhetoric, the level of hostility in the rhetoric is too high.

I think as you grow up and you see things which are around you and you ask questions and you hear the answers, your situation becomes more and more of a puzzle. Now, why is it like this, why are things like this and since writing is one way in which one can ask this questions and try to find these answers, it seems to me a very natural thing to do, especially as it meant stories which I always found moving, almost unbearably necessary.

My position is that serious and good art has always existed to help, to serve, humanity. Not to indict. I don’t see how art can be called art if its purpose is to frustrate humanity. To make humanity uncomfortable, yes. But intrinsically to be against humanity, that I don’t take.

We know the potentiality of Nigeria and the talent and the resources and to see it having no effect on the lives of the people, on the infrastructure, the roads, the hospitals, the schools, seeing no effect of these talents, these recourses is very frustrating. But it is the result of the damage that was done to the country, especially during the various military regimes.

Among the Igbo the art of conversation is regarded very highly, and proverbs are the palm-oil with which words are eaten.

If you have leaders who are prepared to incite group against group it is very easy to manufacture reasons and excuses.

It is not quite true to say that I am not an advocate of writing in African languages. What I think is, one has to think about what is practicable.