Narrative is a very feeble weapon in the face of human darkness and yet it's all we have. That we have to hang the transformation and survival of our species on the journey and transformation of one singular person so far outside of what we expect they can do.

You know, you can steel your heart against any kind of trouble, any kind of horror. But the simple act of kindness from a complete stranger will unstitch you.

Much of the image of the amazingness of America comes from the movies into other cultures. And it's much the same thing when you reverse it. Much of Africa is presented through poverty, through drought and war. [But] you're not presenting people, you're not presenting countries, you're not presenting complexity, and so people can't care about an amorphous mass called Africa.

Unlike other books or TV shows or sometimes life, my narrative worlds are stripped of implicit moral centers. There is only what you bring. That makes the characters risky in every way and the narrative, a journey of change for the reader. But I make the journey as fun as I can.

As with much of the world's problems, they become public--or much more of interest--the moment they begin to impact the West.

I didn't leave Africa, I left Nigeria, and for political reasons. But ... I've never, never left Africa, and I certainly never left what it means to be Ibo. That is something you carry with you.

We are hunting the demons that haunt others. We get a smell and off we go. And you know why, Sunil? You know why we are so good at hunting the demons of others? Because we are so good, gifted even, at stalking and evading our own. But all demons hunters think that they are really heroes, and you know what all heroes need?