Always say no pun intended to draw attention to the intended pun. Teju Cole More Quotes by Teju Cole More Quotes From Teju Cole A MOB is not, as is so often said, mindless. A MOB is single-minded. Teju Cole mindlesssaid It is a work of psychogeography, albeit in a less explicit sense than Iain Sinclair's or Will Self's. It had to be fiction though, because I needed that freedom of including whatever belonged, and cutting out whatever didn't. The main fiction in it was matching Julius' generous and self-concealing character to New York's generous and self-concealing character. I think this also adds to my answer about New York's personality in the book. Teju Cole new-yorkcharacterbook I couldn't remember what life was like before I started walking. Teju Cole walkingremember Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer. I'm a writer who's been strongly influenced by European precedents. I'm a writer who feels very close to literary practice in India - which I go to quite often - and to writers over there. Teju Cole african-americanpracticelong Love perhaps includes the promise that when the mob comes for you I'll go against the mob. Teju Cole promise The big idea behind it was to somehow participate in the discussion about justice. What does it mean to be just to the others out there whose lives we do not think about. One of the answers I came up with was simply tell their stories. Teju Cole meanideasthinking Killing a bunch of people in Sudan and Yemen and Pakistan, it's like, "Who cares - we don't know them." But the current discussion is framed as "When can the President kill an American citizen?" Now in my mind, killing a non-American citizen without due process is just as criminal as killing an American citizen without due process - but whatever gets us to the table to discuss this thing, we're going to take it. Teju Cole presidentmindpeople What's interesting about Twitter is the unmediatedness of it, the directness of it. I'm on a train somewhere in New York and I send out a tweet. Somebody sitting at dinner in Bombay checks their phone and they see it. Teju Cole phonesnew-yorkinteresting The shape the words end up taking are themselves the meaning of the words, they are retrospectively what we meant to say. There's no way of knowing this until you register it in visible form. But the other side of this is that you do have some idea of where you are going. Teju Cole shapesknowingideas Still, there's that faint glimmer of hope we feel when we sense, in other people, the same kind of attentiveness to life that we take comfort in. Why else would anyone watch Haneke films or read Sebald? The material is grim, but it's redeemed by the quality of the attention. Teju Cole qualitycomfortpeople There's a reticence necessary when you consider the suffering of others. Into the space created by that reticence, you bring in those things that best help us confront ambiguity: music, painting, film, and so on. Teju Cole suffering-of-othersspacehelping It takes a few years to understand what we've lived through. At the moment, we're still sort of mired in the irrelevant bullshit. There isn't yet that public conversation about 9/11. Teju Cole bullshitmomentsyears Our biggest art forms are film and television, and there hasn't been a great film about 9/11 yet, nor has there been a great television series. Something like The Wire gives us a rich and fully achieved picture of the wasteful, cruel War on Drugs; something like The White Ribbon gives a perspective on World War I that could only have been presented long after the event itself. Teju Cole whitewarart Not in this specific form. But all great cities are inhabited by ghosts. A book of this kind could probably be written about Jakarta, Manila, or London by anyone who had a feeling for the invisible truths of those places. Teju Cole citiesfeelingsbook At the emergence of the modern novel with Rabelais and Cervantes, all kinds of things were possible in a long-form prose work. Within a couple of hundred years, most of those possibilities were abandoned in favor of a text that efficiently transmitted sentiments. Teju Cole modern-novelcoupleyears I'm grateful for the likes of Kundera, Murnane, Markson, Berger, and, in his recent work, Coetzee. But no matter how celebrated they are, critics still consider them askance. Elizabeth Costello, for example, is a great novel, but it got quite a critical panning when it was published. The complaint was that it was simply a book of speeches, without the machinery of conventional fiction. Markson's books are compilations of facts and alleged facts, very artfully. Teju Cole gratefulspeechbook The Australian Gerald Murnane, a genius on the level of Beckett, is known in Australia and Sweden but almost nowhere else. And I loved Reality Hunger, David Shields' recent novel take on the art of the novel. Teju Cole australiarealityart The novelist loses, every time. Politics is insidious, the modern conduct of war (from shoulder-launched rockets to drone strikes) is insidious. Someone presses a button in California and twenty people are incinerated at a wedding in Pakistan. The killer is spared the sight of the corpses. Teju Cole californiasightwar The novelist can't successfully depict such horrifying reality. But she can, and must, try, to bear witness. There are many ways of doing this; the mode I prefer is indirect. Teju Cole noveliststryingreality Echo is very important to me. I love the repetition of motifs, or the slight alteration of what's been said before. This is part of how one creates a mood, a psychological caul, in fact, around the reader. Teju Cole echoesimportantfacts
