16 Quotes & Sayings By Teju Cole

Teju Cole (born 1983) is an American photographer, writer, and film director. Cole was born in St. Louis, Missouri. He is the son of Nigerian immigrants Read more

His mother has written several books about African-American culture. He attended Yale University, where he studied African-American studies and English literature. He was a student editor of the Yale Daily News.

At Yale he wrote for the Slope, the undergraduate literary magazine, and was a weekly columnist for The Yale Herald. He published two volumes of short stories, including "The Abandoned Hospital" in 2009 and "The Blue Notebook" in 2010. His first book of photography is called "Sculpture".

The book consists mainly of black-and-white photographs that have been selected from his large collection of photos. It has been described as representing an effort to capture "the fleeting moments that captivate us all." Cole's second book of photography is called "Infinite Jest". The book consists of black-and-white photographs shot between 2008 and 2012.

The book includes the following quotation from poet John Ashbery: "I think I know what you're looking for, Teju Cole." Cole's third book of photography is called "The Open Curtain". The book consists mainly of black-and-white photographs that have been selected from his large collection of photos. It has been described as representing an effort to capture "the fleeting moments that captivate us all." Cole's fourth book of photography is called "View from the Ground".

The book consists mainly of black-and-white photographs shot between 2008 and 2011. The book includes the following quotation from poet John Ashbery: "I think I know what you're looking for, Teju Cole." Cole's fifth book of photography is called "Black Fence". The book consists mainly of black-and-white photographs shot between 2008 and 2011.

It includes the following quotation: "Black Fence: A short story by Teju Cole" by John Ashbery who describes it as: "[a]n intimate vision into intimate lives; a series of snapshots; images that are also images within images." Cole's sixth work of photography is titled simply as "Teju". It was shot in 2011 and focuses on portraits taken by his friends and family members as well as himself.

To be alive, it seemed to me, as I stood...
1
To be alive, it seemed to me, as I stood there in all kinds of sorrow, was to be both original and reflection, and to be dead was to be split off, to be reflection alone. Teju Cole
2
He, too, was in the grip of rage and rhetoric. I saw that, attractive though his side of the political spectrum was. A cancerous violence had eaten into every political idea, had taken over the ideas themselves, and for so many, all that mattered was the willingness to do something. Action led to action, free of any moorings, and the way to be someone, the way to catch the attention of the young and recruit them to one's cause, was to be enraged. It seemed as if the only way this lure of violence could be avoided was by having no causes, by being magnificiently isolated from loyalties. But was that not an ethical lapse graver than rage itself? . Teju Cole
As he drank more and more, he became inebriated, and...
3
As he drank more and more, he became inebriated, and began to fashion damaged human beings. Teju Cole
4
There was no starting point for the rebellion, but I could mark an arbitrary one: that a grown-up was someone who, first and foremost, could drink a Coke at whim. Teju Cole
5
The past, if there is such a thing, is mostly empty space, great expanses of nothing, in which significant persons and events float. Nigeria was like that for me: mostly forgotten, except for those few things that I remembered with an outsize intensity. These were the things that had been solidified in my mind by reiteration, that recurred in dreams and daily thoughts: certain faces, certain conversations, which, taken as a group, represented a secure version of the past that I had been constructing since 1992. But there was another, irruptive, sense of things past. The sudden reencounter in the present, of something or someone long forgotten, some part of myself I had relegated to childhood and to Africa. Teju Cole
6
It wasn't a deception: all lovers live on partial knowledge. Teju Cole
7
I became aware of just how fleeting the sense of happiness was, and how flimsy its basis: a warm restaurant after having come in from the rain, the smell of food and wine, interesting conversation, daylight falling weakly on the polished cherrywood of the tables. It took so little to move the mood from one level to another, as one might push pieces on a chessboard. Even to be aware of this, in the midst of a happy moment, was to push one of those pieces, and to become slightly less happy. Teju Cole
8
...originality is little morethan the fine blending of influences. Teju Cole
9
There is an expectation that we can talk about sins but no one must be identified as a sinner: newspapers love to describe words or deeds as “racially charged” even in those cases when it would be more honest to say “racist”; we agree that there is rampant misogyny, but misogynists are nowhere to be found; homophobia is a problem, but no one is homophobic. One cumulative effect of this policed language is that when someone dares to point out something as obvious as white privilege, it is seen as unduly provocative. Marginalized voices in America have fewer and fewer avenues to speak plainly about what they suffer; the effect of this enforced civility is that those voices are falsified or blocked entirely from the discourse. Teju Cole
10
Money, dished out in quantities fitting the context, is a social lubricant here. It eases passage even as it maintains hierarchies. Fifty naira for the man who helps you back out from the parking spot, two hundred naira for the police officer who stops you for no good reason in the dead of night, ten thousand for the clearing agent who helps you bring your imported crate through customs. For each transaction, there is a suitable amount that helps things on their way. No one else seems to worry, as I do, that the money demanded by someone whose finger hovers over the trigger of a AK-47 is less a tip than a ransom. I feel that my worrying about it is a luxury that few can afford. For many Nigerians, the giving and receiving of bribes, tips, extortion money, or alms--the categories are fluid--is not thought of in moral terms. It is seen either as a mild irritant or as an opportunity. It is a way of getting things done, neither more nor less than what money is there for. Teju Cole
11
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
12
There was some kind of scuffle two hundred yards down the street, again strangely noiseless, and a huddled knot of men opened up to reveal two brawlers being separated and pulled away from their fight. What I saw next gave me a fright: in the farther distance, beyond the listless crowd, the body of a lynched man dangling from a tree. The body was slender, dressed from head to toe in black, reflecting no light. It soon resolved itself, however, into a less ominous thing: dark canvas sheeting on a construction scaffold, twirling in the wind. . Teju Cole
13
I am a novelist, 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. Teju Cole
14
I adore imaginary monsters, but I am terrified of real ones. Teju Cole
15
In countries with a properly functioning legal system, the mob continues to exist, but it is rarely called upon to mete out capital punishment. The right to take human life belongs to the state. Not so in societies where weak courts and poor law enforcement are combined with intractable structural injustices. Teju Cole