I think that fiction has this special responsibility or this special ability to help people to empathize, to demand of people that they understand other individuals and other people's experiences.

There is little novelty in the detective who cannot solve himself.

It is really something, the extent to which we allow ourselves to live without thinking of things that we know, in the abstract, are bad, and are going on right now, somewhere far away. We think, "Well, what are you gonna do?" In a way, that little instinct, that "What are you gonna do?" is the most dangerous thing in the world.

Here in America we have a man [Donald Trump] who is a master of a medium that is all about self-aggrandizement and/or cruelty to others. I have been off Twitter lately because I had this sudden sort of feeling of, this man is the president of this club and it's not a club that I want to be in. Sometimes I feel like, well, perhaps it's not right because as a political activist, this is where politics is happening right now. This is where the conversation is going on, but at the same time, I think there is something corrosive about it.

Because as any writer will tell you, an IDEA for a book is like falling in love, it's all wild emotion and headlong rush, but the ACTUAL ACT of writing a book is like building a relationship: it is joyous, slow, fragile, frustrating, exhilarating, painstaking, exhausting, worth it.

That one lesson that African American communities have learned over the centuries in America is that you can't just take for granted that things will steadily get better and better and better until they're great. It is fits and starts. It is backward and forward.

It is part of what makes America great. That tradition of the free press, and also the tradition of this highly competitive market for investigative journalism. We're seeing, there's no question, that we're seeing a renaissance of that.