Teju Quotes

#1. 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

#2. His reverie took him out of the everyday, away from the blankets and the bag of urine.

Teju Cole

#3. It was I, no less solitary than he but having made the lesser use of the morning, who was to be pitied.

Teju Cole

#4. Freud suggested that, in normal mourning, one internalizes the dead. The dead are fully assimilated into the living, a process he called introjection.

Teju Cole

#5. Writing as writing. Writing as rioting. Writing as righting.
On the best days, all three.

Teju Cole

#6. Yes, there's a relaying of internal states that only a novel can achieve. In my view, the novel is one of Europe's greatest gifts to the world. America and Africa collaborated to give the world jazz. We'll call it even.

Teju Cole

#7. When I've had enough of words, I go out into the city for a long walk; sometimes I'll go out walking for several miles. And I'll just take photographs and hope for something striking or unusual to happen that I can organize into a picture frame.

Teju Cole

#8. These were the rare cases in which you gave permission to a stranger to enter your personal space. You trusted the expertise proffered, and enjoyed the promise that the opaque maneuvers of this stranger's hands would yield a result. The tailor, simply by doing his job that day, comforted me.

Teju Cole

#9. Old-school hip hop, i.e., whatever was popular when you were nineteen, is great. Everything since then is intolerable.

Teju Cole

#10. The doors of our fridges, glimpses of cleavage, images of our birthday cakes, the setting sun: cheap photography makes visible the ways in which we are similar, and have for a long time been similar. Now we have proof, again, and again, and again. The

Teju Cole

#11. For purposes of marketing, writers are designated as poets, novelists, or something else. But writing is about matchmaking, an attempt to marry sensations with apt words.

Teju Cole

#12. The energies of Lagos life- creative, malevolent, ambiguous- converge at the bus stops

Teju Cole

#13. What if everything that is to happen has already happened, and only the consequences are playing themselves out?

Teju Cole

#14. Where land mines are indiscriminate, cheap, and brutal, drones are discriminate, expensive, and brutal. And yet they are insufficiently discriminate: the assassination of the Taliban chief Baitullah Mehsud in Pakistan in 2009 succeeded only on the seventeenth attempt.

Teju Cole

#15. The White Savior Industrial Complex is not about justice. It is about having a big emotional experience that validates privilege.

Teju Cole

#16. In 'Open City,' there is a passage that any reader of Joyce will immediately recognise as a very close, formal analogue of one the stories in 'Dubliners.' That is because a novel is also a literary conversation.

Teju Cole

#17. 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

#18. It wasn't a deception: all lovers live on partial knowledge.

Teju Cole

#19. An old man with an ashen face and bulbous yellow eyes,

Teju Cole

#20. But a book suggests conversation: one person is speaking to another, and audible sound is, or should be, natural to that exchange. So I read aloud with myself as the audience, and gave voice to another's words.

Teju Cole

#21. Tried to focus on a particular aspect of this historical moment: the failure of mourning. This is something I haven't seen a great deal of in the writing around this disaster. And my view is that you write about disaster by writing around it, by writing allusively.

Teju Cole

#22. So, for a book set in 2006, Open City evades certain markers, while it embraces certain others. Julius doesn't use a smartphone, and he doesn't discuss contemporary US politics in any fine detail.

Teju Cole

#23. We don't experience our lives as plots. If I asked you to tell me what your last week was like, you're not really gonna give me plot. You're gonna give me sort of linked narrative. And I wanted to see how do we bring that into fiction without losing the reader.

Teju Cole

#24. What do I believe in? Imagination, gardens, science, poetry, love, and a variety of nonviolent consolations. I suspect that in this aggregate all this isn't enough, but that's where I am for now.

Teju Cole

#25. The details were saccharine, but they could not obscure the force and beauty of the painting.

Teju Cole

#26. 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

#27. I often say I've spent more time with photography than I have with literature just in terms of hours.

Teju Cole

#28. I'd like to meet fewer people who say 'Oh, I want to write a book, here are 10 pages I've written,' and more 'Oh, I want to write a book, here are 300 pages I've written.'

Teju Cole

#29. One of the difficulties of photography is that it is much better at being explicit than at being reticent.

Teju Cole

#30. Had Brussels's rulers not opted to declare it an open city and thereby exempt it from bombardment during the Second World War, it might have been reduced to rubble.

Teju Cole

#31. 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

#32. The creative part of oneself finds its way out. In this case, I got interested particularly in the medium of Twitter and looked for ways to use it creatively.

Teju Cole

#33. I'm not trying to be in your face and take a picture that is like a journalistic kind of image. I got interested in a kind of complicated, compiled, visual field.

Teju Cole

#34. The site was a palimpsest, as was all the city, written, erased, rewritten.

Teju Cole

#35. The content of Saul Leiter's photographs arrives on a sort of delay: it takes a moment after the first glance to know what the picture is about. You don't so much see the image as let it dissolve into your consciousness, like a tablet in a glass of water.

Teju Cole

#36. It will finally be broadcast on the national news, to outrage, and to an instant forgetting.

Teju Cole

#37. If you see a theme that you might want to take a photo of, you sort of stand there for an hour waiting for it to resolve, waiting for the geometry of a theme to be exactly what you want them to be. That was my process to get photos.

Teju Cole

#38. I couldn't remember what life was like before I started walking.

Teju Cole

#39. I must say, I'm ready to go into the forest. I am ready to go in. It is time for me to enter the forest and lie down, and let the lions come for me. I've done enough, I think, I've had a good life, and I'm in such terrible pain just now.

Teju Cole

#40. Swear you'd rather die than use 'literally' as an intensifier.

Teju Cole

#41. To read Transtromer - the best times are at night, in silence, and alone - is to surrender to the far-fetched. It is to climb out of bed and listen to what the house is saying, and to how the wind outside responds. Each of his readers reads him as a personal secret.

Teju Cole

#42. It's a test case of what I believe; people can live together but still keep their own values intact. Seeing this crowd of individuals from different places, it appeals to the human side of me, and the intellectual side of me.

Teju Cole

#43. Malcolm X recognized that difference contains its own value, and that the struggle must be to advance that value. Martin Luther King is admired by everyone, he wants everyone to join together, but this idea that you should let them hit you on the other side of your face, this makes no sense to me.

Teju Cole

#44. Never say 'I went to Harvard.' Say 'I schooled in the Boston area.'

Teju Cole

#45. Not all coincidence has to be loaded with meaning. Sometimes, things simply recur because that's how it is in life, that's how the mood gets in. It's good to subtly overdo it too, as Nabokov does, as Sebald does. It's a good way to intensify that region of localized weather that we call a novel.

Teju Cole

#46. The banality of evil transmutes into the banality of sentimentality. The world is nothing but a problem to be solved by enthusiasm.

Teju Cole

#47. Dignified refusal can only take you so far. Ask the Congolese.

Teju Cole

#48. And it is these heavily armed and poorly paid men who are entrusted with the work of protecting the citizenry.

Teju Cole

#49. 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

#50. When I write, I have a sort of secret kinship of readers in all countries who don't know each other but each of whom, when they read my book, feels at home in it. So I write for those readers. It's almost a sense of writing for a specific person, but it's a specific person who I don't know.

Teju Cole

#51. There had been a scandal: a year previously, the chair, Professor Gregoriades, had been accused of using a derogatory term in reference to some Asian patients.

Teju Cole

#52. The completeness of a child is the most fragile and most powerful thing in the world. A child's confidence is the world's wonder.

Teju Cole

#53. In a Transtromer poem, you inhabit space differently; a body becomes a thing, a mind floats, things have lives, and even non-things, even concepts, are alive.

Teju Cole

#54. 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

#55. 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

#56. On many days my primary artistic struggle is, in fact, photography because it is harder to do good work with that. I see myself as an observer of the world who has a strong drive to testify, which I can do because I have the privilege of living in New York with enough food to eat and shelter.

Teju Cole

#57. As he drank more and more, he became inebriated, and began to fashion damaged human beings.

Teju Cole

#58. Perhaps this is what we mean by sanity: that, whatever our self-admitted eccentricities might be, we are not villains of our own stories.

Teju Cole

#59. Each neighborhood of the city appeared to be made of a different substance, each seemed to have a different air pressure, a different psychic weight: the bright lights and shuttered shops, the housing projects and luxury hotels, the fire escapes and city parks.

Teju Cole

#60. Originality is little more
than the fine blending of influences.

Teju Cole

#61. There was a feeling during the years of George W. Bush's presidency that his gracelessness as well as his appetite for war were linked to his impatience with complexity. He acted 'from the gut,' and was economical with the truth until it disappeared.

Teju Cole

#62. The walks met a need: they were a release from the tightly regulated mental environment of work, and once I discovered them as therapy, they became the normal thing, and I forgot what life had been like before I started walking,

Teju Cole

#63. Religion is close to theatre; much of its power comes from the effects of staging and framing.

Teju Cole

#64. And, he added with a laugh, you don't ever notice your oxygen until it's gone: something goes wrong with the HVAC, even for fifteen minutes, and people are ready to riot.

Teju Cole

#65. I made an effort to develop a mind of winter.

Teju Cole

#66. Being Nigerian is a strong part of my identity. Being American is a strong part of my identity. And there are important parts of who I am that really have nothing to do with my national connection.

Teju Cole

#67. A mob is not, as is so often said, mindless. A mob is single-minded.

Teju Cole

#68. Love perhaps includes the promise that when the mob comes for you I'll go against the mob.

Teju Cole

#69. The systems that could lift the majority out of poverty are undercut at every turn. Precisely because everyone takes a shortcut, nothing works and, for this reason, the only way to get anything done is to take another shortcut.

Teju Cole

#70. The original sense of the word 'influence' is 'to flow into.' For the most part, these writers that I admire ... their style flows into me without my intervention, which is what explains the broad range of writers who I've been compared with; it reflects my reading.

Teju Cole

#71. Each time I caught sight of geese swooping in formation across the sky, I wondered how our life below might look from their perspective, and imagined that, were they ever to indulge in such speculation, the high-rises might seem to them like firs massed in a grove.

Teju Cole

#72. One of the chief characteristics of a mob is its quickness. It is sudden. It pounces.

Teju Cole

#73. 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

#74. I schooled in the Boston area.

Teju Cole

#75. There is an expectation that we can talk about sins but no one must be identified as a sinner ...

Teju Cole

#76. People choose, he said, people choose, and they choose on behalf of others.

Teju Cole

#77. We experience life as a continuity, and only after it falls away, after it becomes the past, do we see its discontinuities. The past, if there is such a thing, is mostly empty space, great expanses of nothing, in which significant persons and events float.

Teju Cole

#78. I had hoped for grace," I said, "not immortality"
I wonder why so many people view sickness as a moral test. It has nothing to do with morals or grace. It's a physical test, and usually we lose.

Teju Cole

#79. I suddenly feel a vague pity for all those writers who have to ply their trade from sleepy American suburbs, writing divorce scenes symbolized by the very slow washing of dishes.

Teju Cole

#80. Unlike those other painters, Brewster hadn't resorted to indirect gazes or chiaroscuro to communicate the silence of his world. The faces were well-lit and frontal, and yet they were quiet.

Teju Cole

#81. I probably get a deeper satisfaction of having taken a very good photograph than of having written something very good, a very good story. Maybe it's because the element of magic is so present in a good photograph - luck and magic, but also hard work and being ready and all that.

Teju Cole

#82. I usually disliked whatever was being played on a music store's speakers. It spoiled the pleasure of thinking about other music. Record shops, I felt, should be silent spaces; there, more than anywhere else, the mind needed to be clear.

Teju Cole

#83. As my friend and I talked, a homeless man sang just across the street from us, and we caught his voice in the snatches as the wind came over in gusts.

Teju Cole

#84. There are other writers whose work is connected with everyday life and with the history of the people. And this doesn't mean they have any connection to nationalist ideals. Sometimes, they even suffer more at the hands of nationalists.

Teju Cole

#85. Barack Obama is an elegant and literate man with a cosmopolitan sense of the world. He is widely read in philosophy, literature, and history - as befits a former law professor - and he has shown time and again a surprising interest in contemporary fiction.

Teju Cole

#86. Life's too short for anxious score-keeping

Teju Cole

#87. It is dangerous to live in a secure world.

Teju Cole

#88. This fantasy about the disposability of black life is a constant in American history.

Teju Cole

#89. Because I'm an art historian, I have some experience of writing that comes out of close attention. That's what really art history is. You're looking at something very closely, and you try to write in a meticulous way about it.

Teju Cole

#90. Everything interesting was in the books; it was books that made me aware of the variety of the world.

Teju Cole

#91. Every day is for the thief, but one day is for the owner.

Teju Cole

#92. Breughel is an example of an artist - I mean, this is true about artists and painters in general, but he is a specific example of an artist whose work contains more than you think it does at first glance. Whose work rewards, sustains attention and looking.

Teju Cole

#93. Africa was always waiting, a substrate for the white man's will, a backdrop for his activities...I was primed to see a white man, a nobody in his own country, who thought, as usual, that the salvation of Africa was up to him.

Teju Cole

#94. 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.

Teju Cole

#95. I adore imaginary monsters, but I am terrified of real ones.

Teju Cole

#96. I just realized that we're facing here is an empathy gap. And this was just another way to generate conversation about something that nobody wanted to look at.

Teju Cole

#97. We have for too long been taught that the sight of a man speaking to himself is a sign of eccentricity or madness; we are no longer at all habituated to our own voices, except in conversation or from within the safety of a shouting crowd.

Teju Cole

#98. I am suspicious of writers who say their work is original and influenced by nobody. If it is, it is probably uninteresting. The biggest source of novels is other novels.

Teju Cole

#99. Throughout his career, W.G. Sebald wrote poems that were strikingly similar to his prose. His tone, in both genres, was always understated but possessed of a mournful grandeur.

Teju Cole

#100. You must have been determined, I said. Well, no, no, you don't think of it like that, she said, you just find what you must do, and you do it.

Teju Cole