TAIYE SELASI

So often, literature about African people is conflated with literature about African politics, as if the state were somehow of greater import or interest than the individual.

The thing that comes most frequently to me on yoga retreats is excruciating pain in my hips.

How can I come from a nation? How can a human being come from a concept?

I was four when I announced my ambition to write, eight when I began publishing such claims.

I wouldn't mind my book being called an African novel if it didn't invite lazy readings.

The writer presents himself to the blank page not with an open passport but an open heart.

When writing screenplays, it's a matter of remembering to leave off the page anything and everything that doesn't appear on the screen.

Every Christmas, all around Ghana, there are tons of these parties and they are full of everything that exists in human life in Ghana and worldwide.

I've written fiction for as long as I can remember; it's always been my preferred form of play.

When I'm working, I'm so narrowly focused on sound, language, rhythm, flow, that I rarely feel the emotion of the text. It's only after - long after - I've finished a piece that I can experience in any way its emotional charge.

Every Christmas, all around Ghana, there are tons of these parties and they are full of everything that exists in human life in Ghana and worldwide.

So often, literature about African people is conflated with literature about African politics, as if the state were somehow of greater import or interest than the individual.

I consider myself West African, among other cultural identities, and a writer, among other creative ones.

Being a twin, and being my sister's twin, is such a defining part of my life that I wouldn't know how to be who I am, including a writer, without that being somehow at the centre.

The summer I finished my first novel 'Ghana Must Go,' I drove across west Africa: from Accra to Lome to Cotonou to the deliciously named Ouagadougou.

As a young woman, I had been seeking experience, knowledge, truth, the stuff writers need in their work, but when the artist actually kicked in, I came to understand that in this romantic relationship I was not free to be myself, or to find myself, in order to begin the true work I needed to do.

I'm not sure where I'm from! I was born in London. My father's from Ghana but lives in Saudi Arabia. My mother's Nigerian but lives in Ghana. I grew up in Boston.

As a writer, one is obliged to release her words, to let them live in the world on their own.

I was four when I announced my ambition to write, eight when I began publishing such claims.

I've written fiction for as long as I can remember; it's always been my preferred form of play.

I wrote fiction during my entire childhood, from age 4 to 18, and started writing plays when I went to Yale and Oxford.

The thing that comes most frequently to me on yoga retreats is excruciating pain in my hips.

I live in Rome and five minutes from my flat is a church where you can walk in and see this beautiful Caravaggio. Just the way this man uses dark paint: dark to create dark to create dark, the layering of the darkness in his work. I just race home: I want to create!

When writing screenplays, it's a matter of remembering to leave off the page anything and everything that doesn't appear on the screen.

As a novelist, I ask of myself only that I tell the truth and that I tell it beautifully.

When I'm working, I'm so narrowly focused on sound, language, rhythm, flow, that I rarely feel the emotion of the text. It's only after - long after - I've finished a piece that I can experience in any way its emotional charge.

The big ideas always come in flashes. I don't really craft stories that much. I genuinely don't know where these people come from, and I've often wondered if writing is just a socially acceptable form of madness.

That's what makes writer's block so painful. You think the well has run dry, maybe somewhere in the heavens the tap has been turned off. That's beyond frightening.

I write essays to clear my mind. I write fiction to open my heart.

The writer presents himself to the blank page not with an open passport but an open heart.

I read recently that the problem with stereotypes isn't that they are inaccurate, but that they're incomplete. And this captures perfectly what I think about contemporary African literature. The problem isn't that it's inaccurate, it's that it's incomplete.

Sight is subjective. We learned that in class.

How can I come from a nation? How can a human being come from a concept?

What distinguishes [Afropolitans] is a willingness to complicate Africa – namely, to engage with, critique, and celebrate the parts of Africa that mean most to them. Perhaps what most typifies the Afropolitan consciousness is the refusal to oversimplify; the effort to understand what is ailing in Africa alongside the desire to honour what is wonderful, unique. Rather than essentialising the geographical entity, we seek to comprehend the cultural complexity; to honour the intellectual and spiritual legacy; and to sustain our parents’ cultures.

I wouldn't mind my book being called an African novel if it didn't invite lazy readings.