"I don't really consider myself a novelist, it just came out purely by accident"
About this Quote
There is a sly kind of authority in calling your own novel an accident. Soyinka isn’t just downplaying a credential; he’s refusing a label that can domesticate a writer’s public image. “Novelist” is a market category, a shelving instruction, a polite way of pinning someone down. For a dramatist whose work has long been entangled with power, censorship, and the theatre’s immediacy, that pin can feel like a trap.
The phrasing does two things at once. “I don’t really consider myself” keeps authorship personal and provisional, not a professional badge handed out by publishers. Then “purely by accident” performs an almost mischievous anti-myth: not the solemn artist destined to write The Novel, but a practitioner who followed material where it led. The subtext is competence without credentialism. If the novel “came out” anyway, it suggests the form wasn’t a lifelong aspiration but a tool picked up when drama couldn’t hold what he needed to say.
Context matters: Soyinka’s career is defined by genre-crossing under political pressure, where form is often dictated by circumstance - what can be staged, what can circulate, what can survive. Calling a novel an accident is also a quiet critique of literary gatekeeping in postcolonial and global literary culture: the expectation that a “serious” writer must produce novels to be legible internationally. He sidesteps that hierarchy with a shrug, implying that the work’s urgency precedes its packaging. The accident, in other words, is strategic.
The phrasing does two things at once. “I don’t really consider myself” keeps authorship personal and provisional, not a professional badge handed out by publishers. Then “purely by accident” performs an almost mischievous anti-myth: not the solemn artist destined to write The Novel, but a practitioner who followed material where it led. The subtext is competence without credentialism. If the novel “came out” anyway, it suggests the form wasn’t a lifelong aspiration but a tool picked up when drama couldn’t hold what he needed to say.
Context matters: Soyinka’s career is defined by genre-crossing under political pressure, where form is often dictated by circumstance - what can be staged, what can circulate, what can survive. Calling a novel an accident is also a quiet critique of literary gatekeeping in postcolonial and global literary culture: the expectation that a “serious” writer must produce novels to be legible internationally. He sidesteps that hierarchy with a shrug, implying that the work’s urgency precedes its packaging. The accident, in other words, is strategic.
Quote Details
| Topic | Writing |
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