I often say I've spent more time with photography than I have with literature just in terms of hours.

The White Savior Industrial Complex is not about justice. It is about having a big emotional experience that validates privilege.

One of the difficulties of photography is that it is much better at being explicit than at being reticent.

Sebald, Naipaul, and Joyce are three of my biggest influences, all of them for their formal freedom and their ability to create mood. So those comparisons are immensely flattering and, of course, unearned.

I suddenly feel a vague pity for all those writers who have to ply their trade from sleepy American suburbs, writing divorce scenes symbolized by the very slow washing of dishes.

I adore imaginary monsters, but I am terrified of real ones.

The energies of Lagos life- creative, malevolent, ambiguous- converge at the bus stops