Chimamanda Ngozi Adichie

I think if it were a book about men telling their stories, that I don't think as many people would have asked me, well, what did the women think? Hmm. I would have. Not that. Yeah, no, you definitely would have. But we all know that you're different. But anyway, so Trevor, what else do you want to know?

I think if it were a book about men telling their stories, that I don't think as many people would have asked me, well, what did the women think? Hmm. I would have. Not that. Yeah, no, you definitely would have. But we all know that you're different. But anyway, so Trevor, what else do you want to know?

And often you're actually not. But it's a perception people have. So you're in your husband's house. Nobody knows what you're doing, what sort of life you actually have. So for many women, it's a kind of freedom, really, in a strange kind of way, in a perverse kind of way. Obviously, we want to live in a world where a woman doesn't need to do that to achieve freedom.

And often you're actually not. But it's a perception people have. So you're in your husband's house. Nobody knows what you're doing, what sort of life you actually have. So for many women, it's a kind of freedom, really, in a strange kind of way, in a perverse kind of way. Obviously, we want to live in a world where a woman doesn't need to do that to achieve freedom.

But if you live in a society that imposes that kind of thing on you.

But if you live in a society that imposes that kind of thing on you.

But that's the reality. Yes, which is why it can then be a kind of strange freedom.

But that's the reality. Yes, which is why it can then be a kind of strange freedom.

I don't know. I really don't know. This is the thing about writing fiction. I don't like the why questions. Because there's a lot that's not... I am intentional, I hate that word, about lectures and essays. I can tell you what I had in mind for The Danger of a Single Story, for example. But with fiction, it's different. It's... So rich African, because it's true.

I don't know. I really don't know. This is the thing about writing fiction. I don't like the why questions. Because there's a lot that's not... I am intentional, I hate that word, about lectures and essays. I can tell you what I had in mind for The Danger of a Single Story, for example. But with fiction, it's different. It's... So rich African, because it's true.

I mean, because I'm interested in, so I think I write about things that I'm interested in, obviously. So when you talk about academia, American academia, I'm interested in that. It's also a world I kind of know because I've spent time there. And so I can write about it with a kind of authority and authenticity, I think. But it's also because I'm interested in all of the,

I mean, because I'm interested in, so I think I write about things that I'm interested in, obviously. So when you talk about academia, American academia, I'm interested in that. It's also a world I kind of know because I've spent time there. And so I can write about it with a kind of authority and authenticity, I think. But it's also because I'm interested in all of the,

The permutations of American academia. I think dream count, I don't like the Y questions. I think you could say that dream count is, I think in some ways it's part satire, especially the bits that are about academia. Okay. Right. But I think as satire always does, there's truth there. Like I'm kind of holding up a slightly mocking mirror to certain things that happen. Right.

The permutations of American academia. I think dream count, I don't like the Y questions. I think you could say that dream count is, I think in some ways it's part satire, especially the bits that are about academia. Okay. Right. But I think as satire always does, there's truth there. Like I'm kind of holding up a slightly mocking mirror to certain things that happen. Right.

But I mean, there's also obviously I'm writing realism. And so it's kind of, you know, when you see people who read Dickens and there's a sense in which you could say reading Dickens can give you a clearer sense of London at the time, clearer than reading history. I know exactly what you mean.

But I mean, there's also obviously I'm writing realism. And so it's kind of, you know, when you see people who read Dickens and there's a sense in which you could say reading Dickens can give you a clearer sense of London at the time, clearer than reading history. I know exactly what you mean.

So I kind of like to think that that's what I am doing with my fiction, which is I'm creating art, but there is, of course, also a kind of social and political component to it. Yeah, yeah, yeah. But I don't set out to... I like to think that my points are more blurred in my fiction. So in other words, if I had to write an essay about American academia, I think it would be very blunt.

So I kind of like to think that that's what I am doing with my fiction, which is I'm creating art, but there is, of course, also a kind of social and political component to it. Yeah, yeah, yeah. But I don't set out to... I like to think that my points are more blurred in my fiction. So in other words, if I had to write an essay about American academia, I think it would be very blunt.

For fiction.

For fiction.