Some people act as though art that is for a mass audience is not good art, and I think this has been a very negative thing. I know that I have wanted very much to write books that are accessible to the widest audience possible.

Think of all the women you know who will not allow themselves to be seen without makeup. I often wonder how they feel about themselves at night when they are climbing into bed with intimate partners. Are they overwhelmed with secret shame that someone sees them as they really are? Or do they sleep with rage that who they really are can be celebrated or cared for only in secret?

Writing and performing should deepen the meaning of words, should illuminate, transfix and transform.

It was the world of Southern, rural, black growing up, of folks sitting on porches day and night, of folks calling your mama, 'cause you walked by and didn't speak, and of the switch waiting when you got home so that you could be taught some manners. It was a world of single black older women schoolteachers, dedicated, tough; they had taught your mama, her sisters, and her friends. They knew your people in ways that you never would and shared their insight, keeping us in touch with generations. It was a world where we had a history.

It's interesting to look at all the aspects where everyday Americans, many of whom are not college educated, are thinking deeply now about our economic structure.

Contrary to what some folks would have us believe, it is not tragic, even if undesirable, for a person to leave a liberal arts education not having read major works from this canon. Their lives are not ending. And the exciting dimension of knowledge is that we can learn a work without formally studying it. If a student graduates without reading Shakespeare and then reads or studies this work later, it does not delegitimize whatever formal course of study that was completed.

What's so amazing about this historical moment is that it is bringing class to the fore and we have to think about the nature of work and hierarchy.