Chris Abani Quotes

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.

Sometimes we say we want an end to hate or racism or sexism. But we all participate in keeping these structures alive. If everyone decided to relinquish the past what would happen to people who feel that there hasn't been proper atonement made to them? And what happens to the person who feels that the constant atonement is their identity?

Love is at once the most creative and yet simultaneously destructive force in the world, and thus, in our lives. And I don't mean the Hallmark sentimental type of love, although that is part of it. But a deeper obligation that we have to each other: the obligation to reflect our humanness at each other, to reflect back the things others show us and we, them.

What I do is create a lens through my work that corrects my readers' cognitive dissonance and says: you will see all of it - not what you want or what makes you comfortable, but all of it. And you will not erase what displeases you.

She who had been taken and taken and taken. And now the one time she took for herself, the one time she had choice in the matter, it was taken away.

I read everywhere. It's like a bodily function. I don't need quiet. I write and read with the TV on. I follow the TV show while I read. TV doesn't require a lot of brainpower.

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.

I watch what happens below and I
am grateful that I can smell my smell, smell my smell and live while below me it happens, it happens that night bright as day, but I cannot name it, those things that happened while I watched, and I cannot speak something that was never in words, speak of things I cannot imagine, could never have seen even as I saw it, and I hide and am grateful for my smell crouched like an animal in that dark hot space

If I don't get at least one e-mail every ten minutes, I feel unloved. Even junk mail makes me feel seen. Sad, I know. Sigh.

I would say it is because the striving and the power keep you from realizing just how helpless you really are. It protects you from facing the fact that others are manipulating you, that regardless of what you might claim, your philosophy is simply a way to rationalize what you do for others too afraid to do their own dirty work; that you are in a way also a victim of the apartheid state. You

Sometimes I feel very alone. I am a bit of a nomad. Many people in sort of emerging countries, emerging economies, find themselves displaced. So there is that sense, and so I'm part of a whole, I think, group of displaced people.

My search is always to find ways to chronicle, to share and to document stories about people, just everyday people. Stories that offer transformation, that lean into transcendence, but that are never sentimental, that never look away from the darkest things about us.

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?

as his mother told Grandma Marie, there are no words for some

I was born in 1966, at the beginning of the Biafran-Nigerian Civil War, and the war ended after three years. And I was growing up in school, and the federal government didn't want us taught about the history of the war, because they thought it probably would make us generate a new generation of rebels.

Time was the only variable in every equation of power and oppression
how long before the pot boiled over.

Like most writers, I find the Web is a wonderful distraction. Who doesn't need that last minute research before writing?

I read mostly Irish, African, Japanese, South American, and African writers. You can count on Scandinavian literature for a certain kind of darkness, a modern mythic style.

In this time of the Internet and nonfiction, to be on an actual bookshelf in an actual bookstore is exciting in itself.

Something that had the quality of a dimly lit stage set just before the curtains rise on opening night. There was a rhythm to it, a beckoning, and a bittersweet tear in time.

Fiction is more dangerous than nonfiction because it can seduce better. I think we all know this, know that deeper truths can be approached in fiction than in fact. There are risks for the reader, because after reading certain books you find you have changed irreversibly. There are risks for writers: in China, now, and Ethiopia and other countries right now, writers face real persecution.

My friend Ronald Gottesman says ... that the cause of all our trouble is the belief in an essential, pure identity: religious, ethnic, historical, ideological.

I think it's an aggregation of all of the small acts that are really transformative. I think a group of small acts transform the individual. And maybe when the individual transforms, collectively we transform.

There had been many such experiments when he worked in South Africa, in Vlakplaas, a notorious apartheid death camp.

Thoughts of Abigail filled her world. By all accounts she had bee a tall, thin, woman, whose eyes held a power beyond the black pools of er irises. Tall, thin, and dark, she, this Abigail, looked so much like the other that her father had named her the same She was more ghost than her mother, however, moving with the quality of light breathing though a house in which the only footprints in the dust were those of her dead mother. Even her laughter, at once wild and reigned in, was all Abigail.

This is the prevalence of ritual. To remember something that cannot be forgotten.

The question is, how do I balance narratives that are wonderful with narratives of wounds and self-loathing? And this is the difficulty that I face. I am trying to move beyond political rhetoric to a place of ethical questioning. I am asking us to balance the idea of our complete vulnerability with the complete notion of transformation or what is possible.

When I was growing up in Nigeria - and I shouldn't say Nigeria, because that's too general, but in Afikpo, the Igbo part of the country where I'm from - there were always rites of passage for young men. Men were taught to be men in the ways in which we are not women; that's essentially what it is.

I love essays, but they're not always the best way to communicate to a larger audience.

Fiction and poetry are my first loves, but the really beautiful lyrical essay can do so much that other forms cannot.

Abigail read in Reader's Digest that all plane landings were controlled crashes. Like the way we live our lives, she thought. Bumble through doing the best we can and hoping that some benevolence keeps us from crashing.

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.

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.

The Igbo used to say that they built their own gods. They would come together as a community, and they would express a wish. And their wish would then be brought to a priest, who would find a ritual object, and the appropriate sacrifices would be made, and the shrine would be built for the god.

It takes me forever to actually finish something like a ten-page essay. But, when I do, I usually love what they are. It's a complicated relationship.

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

That women are mysterious and unknowable is something every young man grows up believing. Men, on the other hand, never think of themselves as mysterious or confusing, and we are often at a loss as to why women want to figure us out.

I have to have three or four books going simultaneously. If I'm not impressed in the first 20 pages, I don't bother reading the rest, especially with novels. I'm not a book-club style reader. I'm not looking for life lessons or wanting people to think I'm smart because I'm reading a certain book.

But the thing is that, in the end, we each must decide how comfortable we are with how much we hurt other people

We often think that language mirrors the world in which we live, and I find that's not true. The language actually makes the world in which we live. Language is not - I mean, things don't have any mutable value by themselves; we ascribe them a value.

Circuses are about entertainment and juggling and animals and all that shit. Sideshows are about freaks, about people and the limits of acceptability. We push those limits. If a circus is an escape, Fire said, a sideshow is a confrontation.

I think cities are the primordial forests of our time. We evolve faster as a species in cities. Cities are chaotic, liminal places where the many aspects of human potential, good and/or bad, are most readily magnified.

It is easy to forget the decadence of glass. How some of us find it only in fragments. The glass between us and the world is often the measure of our wealth. Looking out at the world through it colors the hunger beyond.

There was a positive side to not trying at something: you could always pretend that your life would have been different if you had.

There is no living African writer who has not had to, or will not have to, contend with Achebe's work. We are either resisting him - stylistically, politically, or culturally - or we are writing toward him.

People think that writing is writing, but actually writing is editing. Otherwise, you're just taking notes

Here's the thing: You rescue us every day in small, quiet ways, so why not in this way? Let us into your mystery, tell us how you would like to be loved, show us how to see you, really see you.

I think that those of us who are ordinary disappear easily into the backdrop of life and we take things for granted. We often wake up in our lives and wonder how we got there. But the characters I create, the people I am drawn to, are quite extraordinary (and not always in wholesome ways), and they offer us the chance to understand who we really are and how we became who we are.

Every successful artist comes from a family - parents or siblings or both - who, although equally gifted, chose not to pursue the treacherous and difficult path of the artist.

Elvis, stop dat! You know it is taboo to whistle at night. You will attract a spirit.

The truth is, everything we know about America, everything Americans come to know about being American, isn't from the news. I live there. We don't go home at the end of the day and think, "Well, I really know who I am now because the Wall Street Journal says that the Stock Exchange closed at this many points." What we know about how to be who we are comes from stories. It comes from the novels, the movies, the fashion magazines. It comes from popular culture.

Since I hold no judgments against my characters, no matter how heinous they might seem, I present them as real people with their own moral centers. We might feel those moral centers are mis-calibrated, but they are there and are the rudders that propel them. This makes reading my work a visceral roller coaster, 'cause the reader must embark on the journey of the protagonist equipped only with his or her own moral center.

The privilege of being a writer is that you have this opportunity to slow down and to consider things.

Before you speak, my friend, remember, a spiritual man contain his anger. Angry words are like slap in de face.