Home And Exile Chinua Achebe Pdf Writer
By rights I should be talking to Chinua Achebe in Ogidi, his home town in Nigeria. Nadine Gordimer, one of the many writers indebted to Achebe for the. The subject of the book, into exile for accidentally killing a boy.
. Author: Chinua Achebe. Publisher: Oxford University Press. ISBN: 081.
Category: Biography & Autobiography. Page: 128.
View: 6036Chinua Achebe is Africa's most prominent writer, the author of Things Fall Apart, the best known-and best selling-novel ever to come out of Africa. His fiction and poetry burn with a passionate commitment to political justice, bringing to life not only Africa's troubled encounters with Europe but also the dark side of contemporary African political life. Now, in Home and Exile, Achebe reveals the man behind his powerful work. Here is an extended exploration of the European impact on African culture, viewed through the most vivid experience available to the author-his own life. It is an extended snapshot of a major writer's childhood, illuminating his roots as an artist. Achebe discusses his English education and the relationship between colonial writers and the European literary tradition. He argues that if colonial writers try to imitate and, indeed, go one better than the Empire, they run the danger of undervaluing their homeland and their own people.
Achebe contends that to redress the inequities of global oppression, writers must focus on where they come from, insisting that their value systems are as legitimate as any other. Stories are a real source of power in the world, he concludes, and to imitate the literature of another culture is to give that power away. Home and Exile is a moving account of an exceptional life. Achebe reveals the inner workings of the human conscience through the predicament of Africa and his own intellectual life. It is a story of the triumph of mind, told in the words of one of this century's most gifted writers.
Author: Ernest Emenyo̲nu,Iniobong I. Uko. Publisher: Africa World Press. ISBN: 767. Category: Literary Criticism. Page: 475. View: 4938Chinua Achebe, a literary icon of the 20th century, is widely regarded as Africa's best novelist to date, and one of the world's greatest.
The essays in this book provide global perspectives of Achebe as an artist with a proper sense of history and an imaginative writer with an inviolable sense of cultural mission and political commitment. Omenka is the first of a two volume celebration of this modern African literary tradition, which owes much of its origin to Achebe's landmark classic novel, Things Fall Apart, the most widely read African novel. Author: Chinua Achebe. Publisher: Penguin UK. ISBN:. Category: Fiction. Page: 144.
View: 9748Obi Okonkwo is an idealistic young man who, thanks to the privileges of an education in Britain, has now returned to Nigeria for a job in the civil service. However in his new role he finds that the way of government seems to be backhanders and corruption. Obi manages to resist the bribes that are offered to him, but when he falls in love with an unsuitable girl - to the disapproval of his parents - he sinks further into emotional and financial turmoil. The lure of easy money becomes harder to refuse, and Obi becomes caught in a trap he cannot escape.
Showing a man lost in cultural limbo, and a Nigeria entering a new age of disillusionment, No Longer at Ease concludes Achebe's remarkable trilogy charting three generations of an African community under the impact of colonialism, the first two volumes of which are Things Fall Apart and Arrow of God. Pure and Simple, an Oral Biography. Author: Phanuel Akubueze Egejuru. Publisher: N.A. ISBN: N.A.
Category: Biography & Autobiography. Page: 214.
View: 6412One of the most engaging, and unavoidable questions in the study of literature is the relationship between the events of an artist's life and his work. The author of this study contends that you cannot separate the two - she 'met' Achebe through Things Fall Apart. Knowing something of the biography of Achebe is crucial to gaining a more in-depth understanding of the man - and thus of the work. This authorised oral biography is compiled from interviews with family members, servants, and personal and professional friendships. It retraces the writer's steps from his hometown of Ogidi to Europe, and the U.S.; and considers his literary and political activities, his identities as an Africa, a Nigerian and an Igbo, and traits of his personality. The biographer recounts personal anecdotes in the biographer's exploration of a writer whom she characterises, on the one hand as a complex and conflicting personality; and on the other, as someone whose true concerm is for the well-being of the human community.
The author is a Professor of English who has held posts at several North American and African universities; and has been a friend and colleague of Achebe's for some thirty years. Author: Chinua Achebe. Publisher: Heinemann. ISBN: 255. Category: Fiction. Page: 148. View: 662This expanded edition of Chinua Achebe's first novel portrays the collision of African and European cultures in an Igbo village.
Okonkwo, a great man in Igbo traditional society, cannot adapt to the profound changes brought by the British conquest of Nigeria. Yet, as in classic tragedy, Okonkwo's character as well as external forces contribute to his downfall. This expanded edition includes new illustrations, maps, additional essays on history, culture,and literature, and reference material to help readers see Achebe's classic novel in social and historical context, and to understand its place in world literature. Author: Chinua Achebe,Bernth Lindfors.
Publisher: Univ. Press of Mississippi. ISBN: 997.
Category: Biography & Autobiography. Page: 199. View: 9491Chinua Achebe's books are being read throughout the English-speaking world. They have been translated into more than fifty languages. His publishers estimate that more than eight million copies of his first novel Things Fall Apart (1958) have been sold. As a consequence, he is the best known and most widely studied African author. His distinguished books of fiction and nonfiction include No Longer at Ease, Arrow of God, Morning Yet on Creation Day, Christmas in Biafra, and others.
Achebe often has been called the inventor of the African novel. Although he modestly denies the title, it is true that modern African literature would not have flowered so rapidly and spectacularly had he not led the way by telling Africa's story from a distinctively African point of view. Many other Africans have been inspired to write novels by his example.
The interviews collected here span more than thirty years of Achebe's writing career. The earliest was recorded in 1962, the latest in 1995.
Together they offer a representative sample of what he has said to interviewers for newspapers, journals, and books in many different countries. Through his own statements we can see Achebe as a man of letters, a man of ideas, a man of words. As these interviews show, Achebe is an impressive speaker and gifted conversationalist who expresses his ideas in language that is simple yet pungent, moderate yet peppered with colorful images and illustrations. It is this talent for deep and meaningful communication, this intimate way with words, that makes his interviews a delight to read. He has a facility for penetrating to the essence of a question and framing a response that addresses the concerns of the questioner and sometimes goes beyond those concerns to matters of general interest.
'People,' he says, 'are expecting from literature serious comment on their lives. They are not expecting frivolity. They are expecting literature to say something important to help them in their struggle with life.
This is what literature, what art, is supposed to do: to give us a second handle on reality so that when it becomes necessary to do so, we can turn to art and find a way out. So it is a serious matter.'
Culture(s)& Literature of Africa(Oral Arts & Film)Prof. CoraAgatucci6 October 1998:Learning ResourcesChinua Achebe In His Own Words,URL of this page:LITERATURE AND STORY TELLINGNote: Interpretativesummaries is this section are Cora Agatucci's'.onlythe story.can continue beyond the war and the warrior.It is the story that outlives the sound of war-drums and theexploits of brave fighters.It is the story.that saves our progeny from blundering likeblind beggarsinto the spikes of the cactus fence.The story is our escort; without it, we are blind.Does the blind man own his escort? No, neither do we the story;rather it is the story that owns us and directs us.- Chinua Achebe, (1987)From 'What Has Literature Got to Dowith It,' collected in (1988):'Literature, whether handed down by word or mouthor in print, gives us a second handle on reality.'
Chinua Achebe Biography
Achebebelieves that literature has social and political importance. Itis much more than a creative ornament. It provides a necessarycritical perspective on everyday experience, educates us on themeaning of our actions and offers us greater control over oursocial and personal lives. According to Achebe, literature worksby 'enabling us to encounter in the safe, manageabledimensions of make-believe the very same threats to integritythat may assail the psyche in real life; and at the same timeproviding through the self-discovery which it imparts a veritableweapon for coping with these threats whether they are foundwithin our problematic and incoherent selves or in the worldaround us.' From 'The Novelist as Teacher,'collected in (1975) & (1988):Achebe represents a particular reality: a modern Africa whoserich variety of ethnic and cultural identities is complicated bythe impact of European colonialism.
Read by Western audiences,works like Things Fall Apart are intended to challengestereotypes of Africans as primitive savages, and present thecomplexities of African societies, with their alternative sets oftraditions, ideals, values, and behaviors. Achebe is even moredismayed, however, to see Africans themselves internalizing thesestereotypes and turn away from their cultures to emulatesupposedly superior white European civilizations. So Achebedescribes a dual mission to educate both African and Europeanreaders, to reinstate a sense of pride in African cultures and 'tohelp my society regain belief in itself and put away thecomplexes of years of denigration and self-abasement.' (As Paul Brians explains, the 'moststriking feature of Things Fall Apart is to create acomplex and sympathetic portrait of a traditional villageculture in Africa.
Achebe is trying not only to inform theoutside world about Ibo cultural traditions, but to remindhis own people of their past and to assert that it hadcontained much of value. All too many Africans in his timewere ready to accept the European judgment that Africa had nohistory or culture worth considering.' He also fiercely resents thestereotype of Africa as an undifferentiated 'primitive' land,the 'heart of darkness,' as Conrad calls it.Throughout the novel he shows how African cultures vary amongthemselves and how they change over time.
Look for instancesof these variations as you read.' As a young boy the Africanliterature he was taught consisted entirely of works byEuropeans about Africa, such as Conrad's Heart of Darknessand Joyce Cary's Mister Johnson, which portrays acomic African who slavishly adores his white colonist boss,to the point of gladly being shot to death by him. Achebe hassaid that it was his indignation at this latter novel thatinspired the writing of Things Fall Apart.
Try to seein what ways his novel answers Cary's. He also wrote a famousattack ' An Image of Africa' on the racism of Heart of Darkness whichcontinues to the subject of heated debate.' See alsobyGeorge P. Landow (Prof.
Of English and Art History, BrownUniv), based on Contemporary Authors - Achebe'states his mission in his essay 'The Novelist asTeacher': 'Here is an adequate revolution for me toespouse - to help my society regain belief in itself and toput away the complexes of the years of denigration andself-abasement. And it is essentially a question ofeducation, in the best sense of that word. Here, I think, myaims and the deepest aspirations of society meet.' 'From 'The African Writer and theEnglish Language' (1964),collected in (1975):Achebes goals cannot be realized by a simple return to apre-colonial African age. He believes African society has beenirrevocably changed by the colonial era. Achebe chooses to writein English and use Western forms of literary expression, unlikeother African writers who reject the colonizers languages(e.g., English, French) and other vestiges of colonial influence.For example, (Kenya) chooses now to write andcreate only in his native Gikuyu language to build up anindigenous literature and 'orature' (oral andperformance arts). Achebe says he chooses to write in 'AfricanEnglish' to express ' anew voice coming out of Africa, speaking of African experience ina world-wide language.
So my answer to the question, Can anAfrican ever learn English well enough to be able to use iteffectively in creative writing? Is certainly yes. If on theother hand you ask: Can he ever learn to use it like a nativespeaker? I should say, I hope not. The African writershould aim to use English in a way that brings out his messagebest without altering the language to the extent that its valueas a medium of international exchange will be lost.
He should aimat fashioning out an English which is at once universal and ableto carry his peculiar experience.' Like many other 'postcolonial' writers from India,Africa, and other formerly colonized nations of the world, Achebeattempts to construct an image of Africa in a language thatrespects the national traditions of his native land whilerecognizing the demands of a cosmopolitan, international audienceto whom Things Fall Apart is, in part, addressed. Achebeaims to reclaim his heritage and at the same time indicatedirections for constructive change. He writes at a time whencountries are adapting to a global economy and responding topressures for reform and international cooperation, yet Achebe iskeenly aware of the dangers of reactionary forms of nationalismand the desire for absolute power that, in Nigeria and elsewhere,have blocked reform and given dictators unrestrained rule.For Achebe, the transition to a new kind of postcolonial worldshould not abandon the old; and the repository of the old, thevital means to bring the old to meet the new, is the story.' The story is our escort,' a character isAchebes novel Anthills of the Savannahsays; 'without it, we are blind.' Thestory embodies a tradition that can adapt to the new; the problemAchebe confronts is that of preserving national and culturalidentity in the face of the inevitable blending of differentcultures, yet preserving that identity in a way that does notreject-and can benefit.References to the novel are from the editionused in Hum 211: Achebe, Chinua.
Things Fall Apart.1958. Expanded edition with notes.
London: Heinemann, 1996. Seethe 'Suggestions for Further Reading,' pp. Lvi-lviii,in this edition.Some of the above questions have been adaptedor quoted from the Study Guide and Notes on Things Fall Apart (1996;) of Paul Brians, Department of English, WashingtonState University, Pullman.' Theworld is big.
Some people are unable to comprehend that simplefact.They want the world on their own terms, its peoples just likethem and their friends,its places like the manicured little patch on which they live.But this is a foolish and blind wish.Diversity is not an abnormality but the very reality of ourplanet.The human world manifests the same reality and will not seek ourpermissionto celebrate itself in the magnificence of its endless varieties.Civility is a sensible attribute in this kind of world we have;narrowness of heart and mind is not.' -ChinuaAchebe, 27 May 1996by Chinua Achebe'Africa Is People' Speech by Chinua Achebe, given at theOrganization for Economic Cooperation and Development in Paris, France, 1989.Massachusetts Review 40.3 (Autumn 1999): 309 (12pp). Full textavailable from EBSCOHost Academic Search Elite, Article No.2469051.' Africa's Tarnished Name.' In Another Africa.Photographs by Robert Lyons, Essay and Poems by Chinua Achebe.
New York:Anchor-Doubleday, 1998. The African Writer and the Biafran Cause.' Kroniekvan Afrika 8 (1968): 65-70; Conch 1.1 (1969): 8-14. The African Writer and the English Language.'
ModernaSprak 58 (1964): 438-446; Transition 18 (1965): 27-30. Agostinho Neto.' In Another Africa.Photographs by Robert Lyons, Essay and Poems by Chinua Achebe.
New York:Anchor-Doubleday, 1998. New York: Doubleday, 1989. COCCLibrary: PR9387.9.AArrow of God.1964.
New York: Anchor Books, 1989. COCC Library:PR9387.9.A3 A88 1989'The Black Writer's Burden.' Presenceafricaine 59 (1966): 135-140.Beware Soul Brother and OtherPoems. London: Heinemann, 1972. As Christmasin Biafra and Other Poems.
New York:Anchor-Doubleday, 1973. During the civilwar in Nigeria, Chinua Achebe found poetry a means of expressinghis distress, though few of the poems speak only indirectly ofthe war. See essay on by Minna Song.' In Another Africa.Photographs by Robert Lyons, Essay and Poems by Chinua Achebe.
New York:Anchor-Doubleday, 1998. Chi in Igbo Cosmology.' In Achebe, 93-103.' Colonialist Criticism.' In Achebe,: Selected Essays, 68-90.The Drum.
1977.Nairobi, Kenya: Heinemann, 1988.The Flute. 1977.Nairobi, Kenya: Heinemann, 1990.' In Another Africa.Photographs by Robert Lyons, Essay and Poems by Chinua Achebe.
New York:Anchor-Doubleday, 1998. African Prose I: Traditional Oral Texts.Ed. London: Clarendon, 1964. Vii-xi.Girls at War and Other Stories.
London:Heinemann, 1972.Home and Exile. Du Bois InstituteSeries.
New York: Oxford, 2000. Based on three lectures Achebe gave atHarvard Univ.
In 1998.:Selected Essays. NewYork: Anchor-Doubleday, 1990.
COCC Library: PR9387.9.A3 H61990'An Image of Africa.' MassachusettsReview 18 (1977): 782-794.'
:Racism in Conrad's Heart of Darkness.' In Achebe,: Selected Essays, 1-20. Heart of Darkness: AnAuthoritative Text, Backgrounds and Sources, Essays in Criticism.3rd ed.
Robert Kimbrough. Norton, 1988.251-262.' Knowing Robs Us.'
In Another Africa.Photographs by Robert Lyons, Essay and Poems by Chinua Achebe. New York:Anchor-Doubleday, 1998. Language and the Destiny of Man.'
In Achebe, 30-37.A Man of the People.London: Heinemann, 1966.: Essays. London: Heinemann,1975. Currently out of print, but five of its important essays arereprinted in:“The Novelist as Teacher” (1965), “Language andthe Destiny of Man” (1972) “Named for Victoria, Queen of England” (1973),“Thoughts on the African Novel” (1973), and “Colonialist Criticism”(1974).' A Mother in a Refuge Camp.' In Another Africa.Photographs by Robert Lyons, Essay and Poems by Chinua Achebe.
New York:Anchor-Doubleday, 1998. Named for Victoria, Queen of England.' New Letters40.1 (1973): 15-22. In Achebe, 65-70; and in Achebe,20-26.' The Nigeria Chief and the Census.'
In AnotherAfrica. Photographs by Robert Lyons, Essay and Poems by ChinuaAchebe. New York: Anchor-Doubleday, 1998.
76-77.No Longer at Ease.1960. London & Portsmouth, N.H.: Heinemann Educational,1987.
COCC Library: PR6051.C5 N6 1987'The Novelist as Teacher.' NewStatesman 29 Jan. 1965: 161-162. In Achebe, 42-45; and in Achebe,27-31.'
The Role of the Writer in a NewNation.' African Writers on African Writing.Ed. Evanston: Northwestern Univ. Press, 1973.The Sacrificial Egg and Other ShortStories. Onitsha: Etudo Ltd., 1962.'
The Song of Ourselves.' New Statesman& Society, 9 Feb 1990: 30(3pp). Infotrac 2000 Expanded Academic ASAP Article A8549267'Teaching Things Fall Apart.' In Approachesto Teaching Achebe's Things Fall Apart. Bernth Lindfors.
Approachesto Teaching World Literature Series: 37. New York: ModernLanguage Association, 1991. 20-24.Things Fall Apart.
London: Heinemann,1958. New York: Astor-Honor, 1959. New York: Fawcett Crest-Ballantine, 1959. COCCLibrary: PR6051.C5 T5 1959 African Writers Series.London: Heinemann Educational, 1962. London & Portsmouth, N.H.: Heinemann, 1986. COCCLibrary: PR6051.C5 T5 1986Expanded edition with notes. London: Heinemann, 1996.
Editionused in See also.' Thoughts on the African Novel.' InAchebe, 49-54.The Trouble with Nigeria.Enugu: Fourth Dimension, 1983; London: Heinemann, 1985. 'The troublewith Nigeria is simply and squarely a failure ofleadership,' Achebe concludes.' Times LiterarySupplement 1 Feb.
As 'Impediments to Dialoguebetween North and South' in Achebe,14-19.' A Wake for Okigbo.' In Another Africa.Photographs by Robert Lyons, Essay and Poems by Chinua Achebe. New York:Anchor-Doubleday, 1998. The Writer and His Community.' InAchebe,32-41.with Chinua AchebeAchebe, Chinua.
'Africa Is People.' MassachusettsReview 40.3 (Autumn 1999): 309 (12pp). EBSCOHostAcademic Search Elite: Article No. 2469051.Abstract: 'Presentsthe text of the speech delivered by African novelist Chinua Achebeat the Organization for Economic Cooperation and Development in Paris, France in1989 which deals with the African economy.'
Bacon, Katie. 'An African Voice' Interviewwith Chinua Achebe. Interviews: Atlantic Unbound 2 Aug.2000. The Atlantic Online, 2000.
(accessed 8 Mar 2001).Baker, Rob, and Ellen Draper. 'If one thingstands, another will stand beside it': An Interview with ChinuaAchebe.'
The Oral Tradition issue. Parabola17.3(Fall 1992): 19(9pp). Infotrac 2000 Expanded Academic ASAP Article A12603141Abstract: 'Nigeriannovelist Chinua Achebe discusses the importance of storytellingand the oral tradition in the education of children. Achebe tellsa story of Tortoise, the trickster in Igbo tradition, anddescribes aspects of the traditional Igbo world view. Genderroles among the Igbo and the role of the griots, professionalstorytellers, are also discussed.' 'The Art of Fiction.'
Interviewwith Chinua Achebe. The Paris Review35.133(Winter 1994): 142(25pp). Infotrac 2000 Expanded Academic ASAP ArticleA16837922Abstract: ' Nigerian writer Chinua Achebe explains in an interviewthat his interest in stories about life and adventure on otherlands prompted him to choose a career in writing. He claims thathis realization of the need to record both the good and badaspects of life encouraged him to become a writer. His broadrange of interests include varied fields of knowledge such asenglish, science, history and religion. He believes in thecoexistence of art and humanity, and criticizes ethnic practicesthat do not conform to moral and social norms.' Also try online: 'The Art ofFiction': Interview with Chinua Achebe (JeromeBrooks) The Paris Review, Issue133 (1994): Conference: 'Home and Exile: Achebe at 70' in Celebration ofChinua Achebe's 70th Birthday, 3-4 Nov.
2000, Bard College: incl.author's works, awards, prizes, lectures, honorary doctorates; speakers:Nuruddin Farah, Nadine Gordimer, Ali Mazrui, Toni Morrison, Ngugi waThiong'o, and Wole Soyinka.' Let Us Now Praise Famous Men: A Tribute to V.C.Ike at 70,' by Chinua Achebe, 4 May 2001 BardCollege, New York (Rpt. USAfricaOnline, Houston, TX).' Literary Giant Chinua Achebe Returns 'Home' from U.S., to Love andAdulation of Community,' by Chido Nwangwu on Achebe's return toOgidi, Anambra State, Nigeria. USAfricaOnline, Houston, TX):Coeyman, Marjorie. 'Going Home Was a Sad Awakening.' Christian Science Monitor 6 Jan.
Full text availablefrom EBSCOHost Academic Search Elite, Article No. 2649262.Abstract: 'Focuses on the author Chinua Achebe and his relationshipto his homeland of Nigeria following a visit to the country during the summer of2000.' Chinua Achebe: A Biography.
Press, 1997.The first comprehensive account of this major writer's life todate, placing Achebe's life and work in the context of Africanhistory. Ezenwa-Ohaeto, a poet and writer and former student ofAchebe, spent 15 years researching and writing this comprehensivesummary of Achebe's life: See Africa News Online's ' (28 Nov. 1997):Feldman, Gayle.
'Chinua Achebe: Views of Home fromAfar.' Interview.
Publishers Weekly 3July 2000. PublishersWeekly.com'Africa now.
Yes, there's disappointment, pain, sorrow. But I say tomyself, when was it in the last 500 years that Africa has not been in greatpain and sorrow and disappointment? The answer is, very rarely.' There's an Igbo proverb that says of a particular kind of rodent wehave-the grass cutter, which when chewing through the grass makes a lot ofnoise-even if there's only one of them left, you'll hear this sound. That's arather grim kind of hope, but the alternative is to give up and kill yourself.I don't like that option.' You celebrate whatever achievement you can.
Somebody asked merecently how I could talk about African literature as a celebration in view ofAfrica's problems. I said that I'm simply basing my attitude on something veryold in my culture. We had celebrations where there were carvings of the whitedistrict officer, of the earth goddess, of the gods of thunder and ofsmallpox. If you don't bring terrifying characters into your celebration,they'll be out there plotting something else. You bring them in and keep aneye on them.' - Chinua Achebe, qtd.Jeyifo, Biodun.
'The Author's Art.' Interviewwith Chinua Achebe World Press Review Jan1985: 58(2pp). Infotrac 2000 Expanded AcademicASAP Article A3583118.Lindfors, Bernth, ed. ConversationsWith Chinua Achebe. Literary ConversationsSeries.
Jackson: Univ. Press of Mississippi, 1997.Morell, Karen L., ed. InPerson: Achebe, Awoonor, Soyinka. Seattle:University of Washington African Studies Program, 1975.Moyers, Bill. Bill Moyers: A World of Ideas.Ed. Betty Sue Flowers. New York: Doubleday, 1989.
333-44.Chinua Achebe videorecording.Bill Moyers: A World of Ideas. GailPellett; Public Affairs Television, Inc. Princeton, NJ: Films for theHumanities distributor, 1994. COCC Humanities Dept. Holding &ORBIS PR9387.9.A3 Z513 1994 Abstract: Originally broadcast onPBS, September, 1988, as a segment of A World of Ideas.' Bill Moyers interviews Nigerian novelist Chinua Achebewho discusses the West's often inaccurate portrayal of Africa and how it isthe African storyteller's obligation to be the collective memory of theAfrican people.' 'The Next Nigeria.'
New Republic 22 March 1999:9. Full text available from EBSCOHost Academic Search Elite,Article No. Abstract: 'Examines the significance ofthe election of Nigerian President Matthew Olusegun Obasanjo in March, 1999.Obasanjo's plans in 1979 for Nigeria to be one of the leading nations of theworld; Response from Nigerian novelist Chinua Achebeto Obasanjo's plans; Nigeria's poor conditions; Role of Nigeria in Africanstability and economic progress; Need for Nigeria to build democraticinstitutions and combat corruption; Role of the United States.' 'An Interview withChinua Achebe.' Research in AfricanLiteratures 12.1 (1981).Onishi, Norimitsu.
Chinua Achebe Biography
'Nigerian Writer Returnsafter 9-Year Absence.' New York Times 25 August 1999:A5. EBSCOHost Academic Search Elite, Article No. 2236511.Abstract: 'Reports on the return of Chinua Achebe, author of thenovel `Things Fall Apart,' to Nigeria in 1999 after a nine-year exile. Reasonfor leaving Nigeria; Implications of his arrival; Background on his novel.'
'An Interview with Chinua Achebe.' Callaloo13.1 (1990).
Chinua Achebe Short Stories Pdf
Achebe discusses the African storyteller asgriot in this interview: 'the role of the writer, the modernwriter, is closer to that of the griot, the historian and poet,than any other practitioner of the arts' (18).Samway, Patrick H. 'An Interview with ChinuaAchebe.' America, 22 June 1991:684(3pp). Infotrac 2000 Expanded Academic ASAPArticle A10991109Serumaga, Robert.'
Interview with Chinua Achebe.' AfricanWriters Talking: A Collection of Interviews.Eds. Dennis Duerden and Cosmo Pieterse. London: Heinemann, 1972.
Quotations, Interviews, Works Back to AfricanAuthors: Chinua AchebeHUM 211You are here: African Authors: Chinua Achebein His Own WordsURL of this page:Updated:18 August 2004© 1997-2004, Professor of English,Please address comments on web contents & links to:For technical problems withthis web, contact.