Chimamanda Ngozi Adichie Quotes

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I divide my time between Columbia, Maryland, and Lagos, Nigeria.

I am drawn, as a reader, to detail-drenched stories about human lives affected as much by the internal as by the external, the kind of fiction that Jane Smiley nicely describes as 'first and foremost about how individuals fit, or...

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I write from real life. I am an unrepentant eavesdropper and a collector of stories. I record bits of overheard dialogue.

I ask questions. I watch the world. And what I have discovered is that the parts of my fiction that people most tell me are 'unbelievable' are those that are most closely based on the real, those least diluted by...

Non-fiction, and in particular the literary memoir, the stylised recollection of personal experience, is often as much about character and story and emotion as fiction is.

I would come, many years later, to understand why 'To Kill A Mockingbird' is considered 'an important novel', but when I first read it at 11, I was simply absorbed by the way it evoked the mysteries of childhood, of...

Sometimes novels are considered 'important' in the way medicine is - they taste terrible and are difficult to get down your throat, but are good for you.

The best novels are those that are important without being like medicine; they have something to say, are expansive and intelligent but never forget to be entertaining and to have character and emotion at their centre.

In primary school in south-eastern Nigeria, I was taught that Hosni Mubarak was the president of Egypt. I learned the same thing in secondary school. In university, Mubarak was still president of Egypt. I came to assume, subconsciously, that he...

Nigerian politics has been, since the military dictatorships, largely non-ideological. Rather than a battle of ideas, it is about who can pump in the most money and buy the most access.

Perhaps it is time to debate culture. The common story is that in 'real' African culture, before it was tainted by the West, gender roles were rigid and women were contentedly oppressed.

There has always been a strange dissonance between the public and the private in Nigeria.

Successful fiction does not need to be validated by 'real life'; I cringe whenever a writer is asked how much of a novel is 'real'.

While writing 'Half of a Yellow Sun,' I enjoyed playing with minor things: inventing a train station in a town that has none, placing towns closer to each other than they are, changing the chronology of conquered cities. Yet I...

I find that women... deal with immigration differently. And I'm interested in that.

I sort of consider myself a Nigerian who spends a lot of time in the U.S.

'No Sweetness Here' is the kind of old-fashioned social realism I have always been drawn to in fiction, and it does what I think all good literature should: It entertains you.

I've always been curious about how much of our cultural baggage we bring to what and how we read. I suspect we bring a lot, although we like to think we don't.

I own things I like, but nothing inanimate that I treasure in a deeply consuming way.

I realized that I was African when I came to the United States. Whenever Africa came up in my college classes, everyone turned to me. It didn't matter whether the subject was Namibia or Egypt; I was expected to know,...

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