A Quote by Chimamanda Ngozi Adichie
Why did people ask "What is it about?" as if a novel had to be about only one thing.
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Some men and women are inquisitive about everything, they are always asking, if they see any one with anything they ask what is that thing, what is it you are carrying, what are you going to be doing with that thing, why have you that thing, where did you get that thing, how long will you have that thing, there are very many men and women who want to know about anything about everything.
People who aren't addicts want to know why I became one. They ask whether I had a midlife crisis. I'm only speaking for myself now, but I've stopped asking why and how. It's all about surrender and acceptance. It doesn't matter why I am an addict.
The thing about being irresponsible is it's only cute till you are about twenty-two or so, then it becomes a liability. One day you wake up under a pizza box, the television blaring in your bedroom, the laundry piled up over what might be a bedside table, and you ask yourself: 'How did my life get like this? Why don't people like me? Didn't I have a cat and what is that smell?'
I did ... learn an important distinction in graduate school: a speculation about who had syphilis when is gossip if it's about your friends, a plot element if it's about a character in a novel, and scholarship if it's about John Keats.
You may well ask me why...I took the time to write [books]. I can only reply that I do not know. There was no why about it. I had to: that was all.
I wanted to know why people follow rules blindly, or why girls had to act a certain way and boys didn't. Why could boys ask girls out and girls not ask guys out? Why did girls have to shave their legs and guys didn't? Why did society, like, set everything up the way they did? My whole adolescence was full of unanswered whys. Because they never got answered, I just kept lighting fires everywhere - metaphorically speaking.
If you're a history buff, you know about J. Edgar Hoover. He was likely the most powerful man in the US. If you start reading about him, the books contradict each other constantly. I was often left with very little sense of the man personally. I had a sense of what he did and didn't do and what people disagreed about whether he did this or didn't do this or that, but I was like, "Why? Why was he doing all of this?" That was my big question.
The right question to ask from a Darwinian prospective is what was it about bipedalism that was so advantageous? Why did it lead to a - why did that adaptation ultimately lead to a species Homo sapiens that has come to dominate the planet today with six and a half billion people?
But why had he always felt so strongly the magnetic pull of home, why had he thought so much about it and remembered it with such blazing accuracy, if it did not matter, and if this little town, and the immortal hills around it, was not the only home he had on earth? He did not know. All that he knew was that the years flow by like water, and that one day men come home again.
People are always asking, "Is this person in front of me the same on the inside as he or she appears to be on the outside? Is there congruence between what's within that person and the words and actions I'm viewing and hearing externally?" Children ask that about their parents; students ask it about their teachers; parishioners ask it about their pastors and priests; employees ask it about their bosses; and in a democracy, citizens ask it about their political leaders.
The novel ceases to be looked at as a novel. Such is the overwhelming power of motion pictures. Gore Vidal pointed out that the movies are the only thing anybody's really interested in. The association with movies and movie money can, and certainly did in my case, occlude a novel as a novel.
I'm not saying that there weren't other inherent problems with the score that couldn't have been overcome with a bit of remixing, but why did they ask me to do it, and why did Griffin ask me to do it this way, for a film that had nothing to do with American vernacular?
It is uncomfortable to ask condemned people about their sentences just as it is awkward to ask wealthy people why they need so much money, why they use their wealth so poorly, and why they don't just get rid of it when they recognize that it is the cause of their unhappiness.
When I was writing my first novel, 'Elizabeth is Missing,' I was writing the only novel I had ever written and writing about the only protagonist I'd ever written about. Because of this, I didn't think of her as a construct. Maud was real.
My thing about gender-based violence is to bring in the men. Because people would ask women, 'What do you think we should do to fight this?' And I'm like, 'Why are you asking me?' I'm not the perpetrator in most of the instances so why don't we call on the people that are?
I'm a fictional monogamist - I can only work on one thing at a time - but each novel starts growing in my head when I'm about midway through the previous novel.
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