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Chimamanda Adichie The danger of a single story
Im a storyteller.
And I would like to tell you a few personal stories about what I like to call the danger of the single story.
I grew up on a university campus in eastern Nigeria.
My mother says that I started reading at the age of two, although I think four is probably close to the truth.
So I was an early reader, and what I read were British and American childrens books.
I was also an early writer, and when I began to write, at about the age of seven, stories in pencil with crayon illustrations that my poor mother was obligated to read, I wrote exactly the kinds of stories I was reading: All my characters were white and blue-eyed, they played in the snow, they ate apples, and they talked a lot about the weather, how lovely it was that the sun had come out.
(Laughter)
Now, this despite the fact that I lived in Nigeria.
I had never been outside Nigeria.
We didnt have snow, we ate mangoes, and we never talked about the weather, because there was no need to.
My characters also drank a lot of ginger beer because the characters in the British books I read drank ginger beer.
Never mind that I had no idea what ginger beer was.
(Laughter)
And for many years afterwards, I would have a desperate desire to taste ginger beer.
But that is another story.
What this demonstrates, I think, is how impressionable and vulnerable we are in the face of a story, particularly as children.
Because all I had read were books in which characters were foreign, I had become convinced that books by their very nature had to have foreigners in them and had to be about things with which I could not personally identify.
Things changed when I discovered African books.
There werent many of them available, and they werent quite as easy to find as the foreign books.
But because of writers like Chinua Achebe and Camara Laye I went through a mental shift in my perception of literature.
I realized that people like me, girls with skin the color of chocolate,
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