"There are different kinds of artists and very often, I'll be very frank with you, I wish I were a different kind"
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Soyinka’s frankness lands like a small breach in the usual armor we expect from a Nobel laureate and public intellectual. He’s spent decades being treated as a certain kind of artist: the principled dissident, the national conscience, the writer who must translate political catastrophe into moral clarity. By admitting he sometimes wishes he were “a different kind,” he punctures the romance of that role. The line isn’t self-pity; it’s a controlled confession of fatigue, and it works because it refuses the audience’s appetite for the heroic artist who never wavers.
The intent is double-edged. On the surface, it acknowledges artistic plurality: there are many ways to make work, many aesthetic temperaments, many publics to serve. Underneath, it’s a critique of how societies assign jobs to artists, especially in postcolonial contexts where the writer is drafted into politics whether or not he enlisted. Soyinka’s career has been marked by imprisonment, exile, and confrontation with authoritarian power; the “different kind” he imagines could be the artist allowed to be private, formally playful, or simply unburdened by the expectation to represent a people.
The subtext is a quiet question about freedom: is an artist free if the world keeps rewarding only one version of him? It’s also a warning to readers. When we demand that artists be permanently “relevant,” we narrow the possible art they can make, and we outsource our civic responsibilities to a handful of visible voices. Soyinka’s candor doesn’t weaken his stature; it exposes the cost of earning it.
The intent is double-edged. On the surface, it acknowledges artistic plurality: there are many ways to make work, many aesthetic temperaments, many publics to serve. Underneath, it’s a critique of how societies assign jobs to artists, especially in postcolonial contexts where the writer is drafted into politics whether or not he enlisted. Soyinka’s career has been marked by imprisonment, exile, and confrontation with authoritarian power; the “different kind” he imagines could be the artist allowed to be private, formally playful, or simply unburdened by the expectation to represent a people.
The subtext is a quiet question about freedom: is an artist free if the world keeps rewarding only one version of him? It’s also a warning to readers. When we demand that artists be permanently “relevant,” we narrow the possible art they can make, and we outsource our civic responsibilities to a handful of visible voices. Soyinka’s candor doesn’t weaken his stature; it exposes the cost of earning it.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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