A Quote by Sefi Atta

I had stopped writing plays set in villages because they were not relevant to my experiences and I knew my English classmates wouldn't appreciate them. — © Sefi Atta
I had stopped writing plays set in villages because they were not relevant to my experiences and I knew my English classmates wouldn't appreciate them.
I was my class playwright and I wrote plays set in villages with kings and chiefs.My plays were about treason and betrayals. If they were influenced by Macbeth, they were also influenced by Nigerian plays I had seen and Village Headmaster, a television drama series I had watched as a child.
Critics stopped being relevant when they stopped writing to inform and contextualize, and when they started writing to signal who they are, to display their identity by their stance on what they are writing about. Criticism should never be about the critic, but thats what it has become, and that’s why no one cares about them anymore.
Actually, I've taught creative writing in Turkey, at an English language university, where the students were native Turkish speakers, but they were writing their essays in English, and they were very interesting - even the sense of structure, the conventions of writing, the different styles of writing.
At the time I was writing 'Weedflower,' my friend Naomi Hirahara was writing a book about Japanese-American flower farmers. She knew quite a few elderly farmers and put me in touch with four or five of them who had been in camps during WWII. Some, like my father, were reluctant to talk about their experiences.
I knew I had found my life's passion after writing my first column for The Washington Post. The response was like nothing we had seen in the business section. Everyday people were writing that finally someone was speaking to them in a way that was understandable. I think we were all shocked at how many readers wrote in to say that they too had a Big Mama who taught them about money.
Jewish villages were built in the place of Arab villages. You do not even know the names of these Arab villages, and I do not blame you, because these geography books no longer exist.
I don't stand by the understanding of that statement that I will ignore other facts or other experiences because I haven't had them. I do believe that life experiences are important to the process of judging - They help you to understand and listen - but that the law requires a result. And it would command you to the facts that are relevant to the disposition of the case.
We came here to a country that was populated by Arabs and we are building here a Hebrew, a Jewish state; instead of the Arab villages, Jewish villages were established. You even do not know the names of those villages, and I do not blame you because these villages no longer exist. There is not a single Jewish settlement that was not established in the place of a former Arab Village.
I remember writing monologues and one-act plays and stuff in high school. I had a project in English that was just a short book of limericks. It was so weird. I enjoyed the challenge and rhyme of it. I was always putting on plays and stuff.
I did community theater and kids programs at professional theaters and plays at school and voice lessons for seven years. I stopped because it was so time-consuming. But then I realized that I had access to this world where I could go on auditions. And there wasn't too much of an identity crisis when I started acting professionally because I had been acting longer than I had been writing. It didn't feel new.
The hardest bits of my book to read were the easiest bits to write because they were the most immediate. Probably because I had never stopped thinking about them on some level. Those bits I was just channelling and those were the most exciting writing days. The bits I found harder were the bits that happen in between, you know, the rest of living. There were whole years, whole houses, that I just got rid of.
I knew the lysosomes and peroxisomes because I had discovered them; I knew the mitochondria because I was interested in them. I knew the membrane system because my friend, George Palade, had worked on that.
I'd write of people and places like I knew, and I'd make my characters talk everyday English; and I'd let the sun rise and set in the usual quiet way without much fuss over the fact. If I had to have villains at all, I'd give them a chance, Anne--I'd give them a chance. There are some terrible bad men the world, I suppose, but you'd have to go a long piece to find them...But most of us have got a little decency somewhere in us. Keep on writing, Anne.
My children were educated in what were then Chinese schools, and they learned English as a subject. But they made up when they went to English-language universities. So they didn't lose out. They had a basic set of traditional Confucian values. Not my grandchildren.
I was 22 and stopped writing plays, and I didn't start again until I was 25. I was writing badly. In college, I attempted to write these more conventional plays, but the theater I loved was downtown experimental theater. I didn't feel like I could do that either. It didn't occur to me to do my own thing.
New York doesn't exactly have neighborhoods, the way most cities do. What it has is closer to distinct and separate villages, some of them existing on different continents, some of them existing in different centuries, and many of them at war with one another. English is not the primary language in many of these villages, but the Roman alphabet does still have a slight edge.
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