Maybe there are only three kinds of stories: those we live, those we tell, and those that help our souls fly upwards to a greater life.

I became a sceptic of one way of seeing the world. And I think it is what started me in my awareness that any worldview is superstitious.

Don't despair too much if you see beautiful things destroyed, if you see them perish. Because the best things are always growing in secret.

The fact of storytelling hints at a fundamental human unease, hints at human imperfection. Where there is perfection there is no story to tell.

The higher the artist, the fewer the gestures. The fewer the tools, the greater the imagination. The greater the will, the greater the secret failure.

The poem is never complete in the mind. It emerges, and then it's like an act of unveiling. The unveiling is the longest and most difficult part of it.

Stories are the secret reservoir of values: change the stories individuals and nations live by and tell themselves, and you change the individuals and nations.

I began my writing life as a poet, so poetry has always been fundamental. I evolved from poetry to journalism to stories to novels. But poetry was always there.

Reading, like writing, is a creative act. If readers only bring a narrow range of themselves to the book, then they'll only see their narrow range reflected in it.

In the beginning there was a river. The river became a road and the road branched out to the whole world. And because the road was once a river it was always hungry.

I am one year older than Nigeria at 51. In a human life, 51 might be old. But it is very young for a nation. By that, I mean a Nigeria conscious of itself as a nation.

Reading is an act of civilization; it's one of the greatest acts of civilization because it takes the free raw material of the mind and builds castles of possibilities.

Artists and writers have to deal with the element that makes the real real and the dream real while you are dreaming it. That's where stories and poems get their power.

I believe in leavening. You can't have words sticking out too much, like promontories. They disturb the density. You have to flatten them, or raise the surrounding terrain.

I'm fascinated by the mysterious element that runs through our lives. Everyone is looking out of the world through their emotion and history. Nobody has an absolute reality.

To see the madness and yet walk a perfect silver line. ... That's what the true story-teller should be: a great guide, a clear mind, who can walk a silver line in hell or madness.

When you can imagine you begin to create and when you begin to create you realize that you can create a world that you prefer to live in, rather than a world that you're suffering in.

Ghetto-dwellers are the great fantasists. There was an extraordinary vibrancy there, an imaginative life. When you are that poor, all you've got left is your belief in the imagination.

If you are working in an office, where do you find the time to write a novel? But you can finish a short story in five pages. Furthermore, a short story is a perfect place to learn the craft

If you are working in an office, where do you find the time to write a novel? But you can finish a short story in five pages. Furthermore, a short story is a perfect place to learn the craft.

We can still astonish the gods in humanity And be the stuff of future legends, If we but dare to be real, And have the courage to see That this is the time to dream The best dream of them all.

This earth that we live on is full of stories in the same way that, for a fish, the ocean is full of ocean. Some people say when we are born we're born into stories. I say we're also born from stories.

We never think that our mothers will die. It was like suddenly an abyss opened at my feet - I was standing on nothing. It was the strangest thing. Her passing away ripped the solidity out of the world.

Our time here is magic! It's the only space you have to realize whatever it is that is beautiful, whatever is true, whatever is great, whatever is potential, whatever is rare, whatever is unique, in. It's the only space.

The worst time was 1983. Love and life and everything went wrong. I reached absolute rock bottom. I saw the Minotaur at the bottom of the abyss. I learnt of the harshness of the world and its impartiality to human failure.

I was told stories, we were all told stories as kids in Nigeria. We had to tell stories that would keep one another interested, and you weren't allowed to tell stories that everybody else knew. You had to dream up new ones.

You are a mischievous one. You will cause no end of trouble. You have to travel many roads before you find the river of your destiny. This life of yours will be full of riddles. You will be protected and you will never be alone.

At the heart of 'The Famished Road' is a philosophical conundrum - for me, an essential one: what is reality? Everybody's reality is subjective; it's conditioned by upbringing, ideas, temperament, religion, what's happened to you.

You see, I was told stories, we were all told stories as kids in Nigeria. We had to tell stories that would keep one another interested, and you weren't allowed to tell stories that everybody else knew. You had to dream up new ones.

The acknowledged legislators of the world take the world as given. They dislike mysteries, for mysteries cannot be coded, or legislated, and wonder cannot be made into law. And so these legislators police the accepted frontiers of things.

'The Rime of the Ancient Mariner' had a formative effect on me. I think it's one of those works that if you encounter it very early you're doubly enchanted by the beauty of the language and the strangeness of the vision. It stays with you.

Literature doesn't have a country. Shakespeare is an African writer. His Falstaff, for example, is very African in his appetite for life, his largeness of spirit. The characters of Turgenev are ghetto dwellers. Dickens characters are Nigerians.

I'm conscious of a series of circles working its way through my life. And at this particular moment I have come round to the beginning of my writing cycle. It begins with poetry. There's hardly a day that goes past on which I don't write poetry.

To poison a nation, poison its stories. A demoralised nation tells demoralised stories to itself. Beware of the storytellers who are not fully conscious of the importance of their gifts, and who are irresponsible in the application of their art: they

The worst realities of our age are manufactured realities. It is therefore our task, as creative participants in the universe, to re dream our world. The fact of possessing imagination means that everything can be re dreamed. Each reality can have it

A people are as healthy and confident as the stories they tell themselves. Sick storytellers can make nations sick. Without stories we would go mad. Life would lose it’s moorings or orientation... Stories can conquer fear, you know. They can make the heart larger.

It is not important for me as a writer that you leave a piece of writing of mine with either an agreement or even a resonance with what I have said. What is important is that you leave with the resonance of what you have felt and what you thought in reaction to that.

The earliest storytellers were magi, seers, bards, griots, shamans. They were, it would seem, old as time, and as terrifying to gaze upon as the mysteries with which they wrestled .. (they) helped the community live though one more darkness, with eyes wide open, and with hearts set alight.

One of the greatest gifts my father gave me - unintentionally - was witnessing the courage with which he bore adversity. We had a bit of a rollercoaster life with some really challenging financial periods. He was always unshaken, completely tranquil, the same ebullient, laughing, jovial man.

I was born left-handed, but I was made to use my other hand. When I was writing 'Famished Road,' which was very long, I got repetitive stress syndrome. My right wrist collapsed, so I started using my left hand. The prose I wrote with my left hand came out denser, so later on I had to change it.

One human life is deeper than the ocean. Strange fishes and sea-monsters and mighty plants live in the rock-bed of our spirits. The whole of human history is an undiscovered continent deep in our souls. There are dolphins, plants that dream, magic birds inside us. The sky is inside us. The earth is in us.

The road will never swallow you. The river of destiny will always overcome evil. May you understand your fate. Suffering will never destroy you, but will make you stronger. Success will never confuse you of scatter your spirit, but will make you fly higher into the good sunlight. Your life will always surprise you.

It is easy to forget how mysterious and mighty stories are. They do their work in silence, invisibly. They work with all the internal materials of your mind and self. They become part of you while changing you. Beware the stories you read or tell; subtly, at night, beneath the waters of consciousness, they are altering your world.

Bad things will happen and good things too. Your life will be full of surprises. Miracles happen only where there has been suffering. So taste your grief to the fullest. Don’t try and press it down. Don’t hide from it. Don’t escape. It is life too. It is truth. But it will pass and time will put a strange honey in the bitterness. That’s the way life goes.

We disliked the rigours of existence, the unfulfilled longings, the enshrined injustices of the world, the labyrinths of love, the ignorance of parents, the fact of dying, and the amazing indifference of the Living in the midst of the simple beauties of the universe. We feared the heartlessness of human beings, all of whom are born blind, few of whom ever learn to see.

It may be that what you could be haunts you. It is real. It is a weight you have to carry around. Each failure to become, to be, is a weight. Each state you could inhabit is a burden as heavy as any physical weight, but more so, because it weighs on your soul. It is the ghost of your possibilities hanging around your neck, an invisible albatros, potentials unknowingly murdered.

We plan our lives according to a dream that came to us in our childhood, and we find that life alters our plans. And yet, at the end, from a rare height, we also see that our dream was our fate. It's just that providence had other ideas as to how we would get there. Destiny plans a different route, or turns the dream around, as if it were a riddle, and fulfills the dream in ways we couldn't have expected.

The Nigerian storyteller Ben Okri says that ‘In a fractured age, when cynicism is god, here is a possible heresy: we live by stories, we also live in them. One way or another we are living the stories planted in us early or along the way, or we are also living the stories we planted — knowingly or unknowingly — in ourselves. We live stories that either give our lives meaning or negate it with meaninglessness. If we change the stories we live by, quite possibly we change our lives.’

Reading, therefore, is a co-production between writer and reader. The simplicity of this tool is astounding. So little, yet out of it whole worlds, eras, characters, continents, people never encountered before, people you wouldn’t care to sit next to in a train, people that don’t exist, places you’ve never visited, enigmatic fates, all come to life in the mind, painted into existence by the reader’s creative powers. In this way the creativity of the writer calls up the creativity of the reader. Reading is never passive.

Only those who truly love and who are truly strong can sustain their lives as a dream. You dwell in your own enchantment. Life throws stones at you, but your love and your dream change those stones into the flowers of discovery. Even if you lose, or are defeated by things, your triumph will always be exemplary. And if no one knows it, then there are places that do. People like you enrich the dreams of the worlds, and it is dreams that create history. People like you are unknowing transformers of things, protected by your own fairy-tale, by love.

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