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Chinua Achebe (, born Albert Chinualumogu Achebe; (16 November 1930 - 21 March 2013) was a Nigerian novelist, poet, professor, and critic. His first novel Things Fall Apart (1958), often considered his best, is the most widely read book in modern African literature. He won the Man Booker International Prize in 2007. Raised by his parents in the Igbo town of Ogidi in southeastern Nigeria, Achebe excelled at school and won a scholarship to study medicine, but changed his studies to English literature at University College (now the University of Ibadan).
Once he returned to Nigeria, Achebe was promoted at the NBS to the position of Director of External Broadcasting. One of his first duties was to help create the Voice of Nigeria network. The station broadcast its first transmission on New Year's Day 1962, and worked to maintain an objective perspective during the turbulent era immediately following independence. This objectivity was put to the test when Nigerian Prime Minister Abubakar Tafawa Balewa declared a state of emergency in the Western Region, responding to a series of conflicts between officials of varying parties. Achebe became saddened by the evidence of corruption and silencing of political opposition.  In 1962 he attended an executive conference of African writers in English at the Makerere University College in Kampala, Uganda. He met with important literary figures from around the continent and the world, including Ghanaian poet Kofi Awoonor, Nigerian playwright and poet Wole Soyinka, and US poet-author Langston Hughes. Among the topics of discussion was an attempt to determine whether the term African literature ought to include work from the diaspora, or solely that writing composed by people living within the continent itself. Achebe indicated that it was not "a very significant question", and that scholars would do well to wait until a body of work were large enough to judge. Writing about the conference in several journals, Achebe hailed it as a milestone for the literature of Africa, and highlighted the importance of community among isolated voices on the continent and beyond.  While at Makerere, Achebe was asked to read a novel written by a student (James Ngugi, later known as Ngugi wa Thiong'o) called Weep Not, Child. Impressed, he sent it to Alan Hill at Heinemann, which published it two years later to coincide with its paperback line of books from African writers. Hill indicated this was to remedy a situation where British publishers "regarded West Africa only as a place where you sold books." Achebe was chosen to be General Editor of the African Writers Series, which became a significant force in bringing postcolonial literature from Africa to the rest of the world, and he continued in that role until 1972.  As these works became more widely available, reviews and essays about African literature - especially from Europe - began to flourish. Bristling against the commentary flooding his home country, Achebe published an essay entitled "Where Angels Fear to Tread" in the December 1962 issue of Nigeria Magazine. In it, he distinguished between the hostile critic (entirely negative), the amazed critic (entirely positive), and the conscious critic (who seeks a balance). He lashed out at those who critiqued African writers from the outside, saying: "no man can understand another whose language he does not speak (and 'language' here does not mean simply words, but a man's entire world view)." In September 1964 he attended the Commonwealth Literature conference at the University of Leeds, presenting his essay "The Novelist as Teacher".

How did he feel about the subject?

Writing about the conference in several journals, Achebe hailed it as a milestone for the literature of Africa,



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Arundhati Roy was born in Shillong, Meghalaya, India, to Mary Roy, a Malayali Syrian Christian women's rights activist from Kerala and Rajib Roy, a Bengali Hindu tea plantation manager from Calcutta. When she was two, her parents divorced and she returned to Kerala with her mother and brother. For a time, the family lived with Roy's maternal grandfather in Ooty, Tamil Nadu. When she was five, the family moved back to Kerala, where her mother started a school.
Roy has campaigned along with activist Medha Patkar against the Narmada dam project, saying that the dam will displace half a million people, with little or no compensation, and will not provide the projected irrigation, drinking water, and other benefits. Roy donated her Booker prize money, as well as royalties from her books on the project, to the Narmada Bachao Andolan. Roy also appears in Franny Armstrong's Drowned Out, a 2002 documentary about the project. Roy's opposition to the Narmada Dam project was criticised as "maligning Gujarat" by Congress and BJP leaders in Gujarat.  In 2002, Roy responded to a contempt notice issued against her by the Indian Supreme Court with an affidavit saying the court's decision to initiate the contempt proceedings based on an unsubstantiated and flawed petition, while refusing to inquire into allegations of corruption in military contracting deals pleading an overload of cases, indicated a "disquieting inclination" by the court to silence criticism and dissent using the power of contempt. The court found Roy's statement, which she refused to disavow or apologise for, constituted criminal contempt and sentenced her to a "symbolic" one day's imprisonment and fined Roy Rs. 2500. Roy served the jail sentence for a single day and opted to pay the fine rather than serve an additional three months for default.  Environmental historian Ramachandra Guha has been critical of Roy's Narmada dam activism. While acknowledging her "courage and commitment" to the cause, Guha writes that her advocacy is hyperbolic and self-indulgent, "Ms. Roy's tendency to exaggerate and simplify, her Manichaean view of the world, and her shrill hectoring tone, have given a bad name to environmental analysis". He faulted Roy's criticism of Supreme Court judges who were hearing a petition brought by the Narmada Bachao Andolan, as careless and irresponsible.  Roy counters that her writing is intentional in its passionate, hysterical tone: "I am hysterical. I'm screaming from the bloody rooftops. And he and his smug little club are going 'Shhhh... you'll wake the neighbours!' I want to wake the neighbours, that's my whole point. I want everybody to open their eyes".  Gail Omvedt and Roy have had fierce yet constructive discussions, in open letters, on Roy's strategy for the Narmada Dam movement. The activists disagree on whether to demand stopping the dam building altogether (Roy) or searching for intermediate alternatives (Omvedt).

What was the Marmada dam project?