Unlike other books or TV shows or sometimes life, my narrative worlds are stripped of implicit moral centers. There is only what you bring. That makes the characters risky in every way and the narrative, a journey of change for the reader. But I make the journey as fun as I can.

All power within the microcosm of my world was held and wielded by people who look like me. Plus, I think Nigerians all have this sense that they are better than everyone, including white people. So I have the privilege of a certain distance. It may just be that. So in a sense, I can't claim that as any ability that I have, simply a matter of circumstance.

The greatest thing about form and convention is that it saves you from having to reinvent the wheel. Now, whether you mount the wheel to a horse carriage or a Formula One racing car, make it plain or give it spinning rims, those are all craft decisions. But the fact of the wheel remains: it will turn if you set it down. That's what I mean about the beauty of the gifts genre can offer.

As with much of the world's problems, they become public--or much more of interest--the moment they begin to impact the West.

Sometimes we say we want an end to hate or racism or sexism. But we all participate in keeping these structures alive. If everyone decided to relinquish the past what would happen to people who feel that there hasn't been proper atonement made to them? And what happens to the person who feels that the constant atonement is their identity?

My friend Ronald Gottesman says...that the cause of all our trouble is the belief in an essential, pure identity: religious, ethnic, historical, ideological.

The privilege of being a writer is that you have this opportunity to slow down and to consider things.