I do like people to read the books twice, because I write my novels about ideas which concern me deeply and I think are important, and therefore I want people to take them seriously. And to read it twice of course is taking it seriously.
We’re all mad, the whole damned race. We’re wrapped in illusions, delusions, confusions about the penetrability of partitions, we’re all mad and in solitary confinement.
I play the piano passionately and inaccurately. Indeed, I worked out the other day that of my seventy-five years; I have spent at least one year sitting on a piano stool.
In India the odd thing is that English is this almost artificial language floating on the surface of a place with about fifty other languages. The same is true of Nigeria but even more so.
I really feel the novel has certain conveniences about it and has something so fundamental about it you could almost say that as long as there is paper, there is going to be the novel.
It wasn’t until I was 37 that I grasped the great truth that you’ve got to write your own books and nobody else’s, and then everything followed from there.
Every novel is a biography. Well, then, this is a novel [The Paper Men] which is a biography that is pretending to be an autobiography. That’s what you could say about it.
If I blow the conch and they don’t come back; then we’ve had it. We shan’t keep the fire going. We’ll be like animals. We’ll never be rescued.” “If you don’t blow, we’ll soon be animals anyway.
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