Quotes from Teju Cole

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.

There are many people who know nothing of a world in which we take the reality of the 'other' seriously. I'm running on that platform: other people in other countries are really, really real, and there has to be a way of presenting their reality that is not condescending to them or about our psycho-social needs.

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

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

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.

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

I was in New York City on 9/11. Grief remains from that awful day, but not only grief. There is fear, too, a fear informed by the knowledge that whatever my worst nightmare is, there is someone out there embittered enough to carry it out.

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.

I am a novelist. I traffic in subtleties, and my goal in writing a novel is to leave the reader not knowing what to think. A good novel shouldn't have a point.

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

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.

The most common thing I find is very brilliant, acute, young people who want to become writers but they are not writing. You know, they really badly want to write a book but they are not writing it. The only advice I can give them is to just write it, get to the end of it. And, you know, if it's not good enough, write another one.

Probably the biggest temptation that young writers face is to be entertaining, to show your bag of tricks and do a bit of tap dancing. I read a lot of things, and I keep seeing this brocade of voice where someone is trying to be too pally with you or ingratiating on the page.

Punitive murder by the police and by vigilantes has existed in all societies at some point, and probably still exists in most.

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.

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.

I'm not trying to be a poet on Twitter; I'm trying to be aware of the fact that a very simple sentence, well written, can have a very moving effect without that person knowing why. There's a deep genetic part of you that somehow, even without your permission, recognizes good language when it arrives.

Lyrical poetry is not a big part of most people's lives. Twitter now becomes an interesting way of getting cared for language into people's space. Because there is something deep inside of us that responds to cared for language, whether it's literary, poetry, or really good lyrics in a song.

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

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.

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.

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.

I am on Vine. It's another early-adopter kind of thing. I'm trying to figure out what I'm going to do with it. What's interesting about it is that everybody knows these amazing restrictions we've put on it: I have to use my iPhone, I can only use one continuous take, I cannot edit afterwards, I cannot put sound afterwards.

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