Before you speak, my friend, remember, a spiritual man contain his anger. Angry words are like slap in de face.

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.

My mom taught me to read when I was two or three. When I was five I read and wrote well enough to do my nine-year older brother's homework in exchange for chocolate or cigarettes. By the time I was 10, I was reading Orwell, Tolstoy's War and Peace, and the Koran. I was reading comic books too.

Much of the image of the amazingness of America comes from the movies into other cultures. And it's much the same thing when you reverse it. Much of Africa is presented through poverty, through drought and war. [But] you're not presenting people, you're not presenting countries, you're not presenting complexity, and so people can't care about an amorphous mass called Africa.

Fire and Water are archetypes, the split sides of consciousness; one aware, the other, not. The two parts of us that desire synthesis, yet resist it: the self and the shadow. But they are also the element of chance, of the random roll of dice.

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.