I'm not one of those writers I learned about who get up in the morning, put a piece of paper in their typewriter machine and start writing. That I've never understood.

I found, when I left, that there were others who felt the same way. We'd meet, they'd come and seek me out, we'd talk about the future. And I found that their depression and pessimism was every bit as acute as mine.

Even when I'm writing plays I enjoy having company and mentally I think of that company as the company I'm writing for.

Don't feel that you have to tailor your literature a particular way to please any school of ideology. There will emerge in its own right, effortlessly, some kind of ideological direction which is a reflection of your thinking and you want your thinking, above all.

There's a kind of dynamic quality about theater and that dynamic quality expresses itself in relation to, first of all, the environment in which it's being staged; then the audience, the nature of the audience, the quality of the audience.

People say human nature is a very vague expression, people tend to say human nature is corruptible anyway and it comes from a theological point of view, goes back to the Garden of Eden, that there is always this corrupt gene waiting to be activated that we inherited from the very beginning. I don't believe in that theological excuse.

The process of decolonisation in Nigeria was a very untidy one. The British, when they were leaving finally and knew exactly who they wanted to take over, they wanted pliant government, figures, structures, they wanted to continue indirectly in effect their control over much of their colonial possessions and this was one of the very early causes of conflict.