Writers throughout the ages have one weapon, which is literature, but they also have their responsibilities as a citizen when literature does not seem to suffice. I mean, they are not mutually exclusive. One continues to write anyway but if you are called out to demonstrate, if people are being killed in the streets, it's hardly the moment to go for your pen and paper, you know, help in one way or the other.

Next to the commodities of corruption, and religion, however, Nigeria is the world capital of rumour mongering.

I don’t know any other way to live but to wake up everyday armed with my convictions, not yielding them to the threat of danger and to the power and force of people who might despise me.

As I grew older and more mature, I've been able to move beyond the immediate response of violence to a projection of the pragmatic, political consequences of that violence. So it's an effort to attain equilibrium.

But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That's why I call it the most social of the various art forms.

There is only one home to the life of a river-mussel; there is only one home to the life of a tortoise; there is only one shell to the soul of man: there is only one world to the spirit of our race. If that world leaves its course and smashes on boulders of the great void, whose world will give us shelter?

The British inclined more towards the feudal mentality, the feudal structures rather than the more radical progressive elements who would re-shape society and institute pretty egalitarian systems of governance with opportunity for even disadvantaged people and so I found that decolonisation was not just the end of political struggle in Nigeria.