What distinguishes [Afropolitans] is a willingness to complicate Africa – namely, to engage with, critique, and celebrate the parts of Africa that mean most to them. Perhaps what most typifies the Afropolitan consciousness is the refusal to oversimplify; the effort to understand what is ailing in Africa alongside the desire to honour what is wonderful, unique. Rather than essentialising the geographical entity, we seek to comprehend the cultural complexity; to honour the intellectual and spiritual legacy; and to sustain our parents’ cultures.

When writing screenplays, it's a matter of remembering to leave off the page anything and everything that doesn't appear on the screen.

Sight is subjective. We learned that in class.

I read recently that the problem with stereotypes isn't that they are inaccurate, but that they're incomplete. And this captures perfectly what I think about contemporary African literature. The problem isn't that it's inaccurate, it's that it's incomplete.

The summer I finished my first novel Ghana Must Go, I drove across west Africa: from Accra to Lomé to Cotonou to the deliciously named Ouagadougou.

I wrote fiction during my entire childhood, from age 4 to 18, and started writing plays when I went to Yale and Oxford.

I wouldn't mind my book being called an African novel if it didn't invite lazy readings.