A Quote by Binyavanga Wainaina

Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel prize. — © Binyavanga Wainaina
Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel prize.
The Nobel Prize is worth $1.5 million, but that's not the issue. Do the distinguished scientists who win the Nobel Prize need the money? Probably not. The honor is more important the money, and that's the case with the prize for African leadership as well.
After Nigeria, we are the second biggest black African nation. We are the headquarters of the African Union. We are the only African country that has never been colonized. This is perhaps the last surviving African civilization.
One of the things that made the Black Muslim movement grow was its emphasis upon things African. This was the secret to the growth of the Black Muslim movement. African blood, African origin, African culture, African ties. And you'd be surprised - we discovered that deep within the subconscious of the black man in this country, he is still more African than he is American.
I'm not sure whether I could win a Nobel Prize or not, but the Nobel Committee called me, and, 'You got the Nobel Prize.' So, I was so, so happy, and I was so surprised.
People ask me often [whether] the Nobel Prize [was] the thing you were aiming for all your life, and I say that would be crazy. Nobody would aim for a Nobel Prize because, if you didn't get it, your whole life would be wasted. What we were aiming at was getting people well, and the satisfaction of that is much greater than any prize you can get.
When we play at the World Cup, any African will back any African team. Because we want to hear the different approach to African football. We want to hear that Africans can do well, and Africans do well.
Being the first black Nobel laureate, and the first African, the African world considered me personal property. I lost the remaining shreds of my anonymity, even to walk a few yards in London, Paris or Frankfurt without being stopped.
There has been a struggle to reclaim the African self. That struggle has been on the part of a minority of dedicated African-Americans who never gave up our African identity at no time during our stay here.
I am very proud to be African. I want to defend African people, and I want to show to the world that African players can be as good as the Europeans and South Americans.
I use African-American, because I teach African Studies as well as African-American Studies, so it's easy, neat and convenient. But sometimes, when you're in a barber shop, somebody'll say, "Did you see what that Negro did?" A lot of people slip in and out of different terms effortlessly, and I don't think the thought police should be on patrol.
My husband [Julius Tennon] and I started a production company. We've already optioned a book and some scripts to do exactly that, to create more complicated, multi-faceted roles for African-Americans, especially African-American females. I think it's important.
I was absolutely convinced that I wouldn't win the Nobel Prize. My impression was that the Nobel Prize in Literature was given to people more or less affiliated with, let's say, socialist ideas, and that was not my case.
Lawrence Hill, a cultural and spiritual descendant of West African griots, has used his vast storytelling talents to create an epic story that spans three continents. The Book of Negroes recites the pain, misery and liberation of one African woman, Aminata Diallo, who was stolen from her homeland and sold into American slavery. Through Aminata, Hill narrates the terrifying story of slavery and puts at the centre a female experience of the African Diaspora. I wept upon reading this story. The Book of Negroes is courageous, breathtaking, simply brilliant.
A Pulitzer Prize is awaiting the journalist who can find an American who dies of hunger, and probably the Nobel Prize for literature as well.
Sometimes you can't fight change, because you're a part of it, and I feel that in the context of these films that are happening now, there is a kind of change coming in terms of how history is represented on film, and the African, and the African-American and British African experience.
You go to conferences, and your fellow African intellectuals - and even heads of state - they all say: 'Nigeria is a big disappointment. It is the shame of the African continent.'
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