What I do is create a lens through my work that corrects my readers' cognitive dissonance and says: you will see all of it - not what you want or what makes you comfortable, but all of it. And you will not erase what displeases you.

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.

Elvis, stop dat! You know it is taboo to whistle at night. You will attract a spirit.

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.

Men do communicate, often very directly, but women sometimes cannot accept how simple what we have to say is. We seldom play games--we aren't that sophisticated.

I think it's an aggregation of all of the small acts that are really transformative. I think a group of small acts transform the individual. And maybe when the individual transforms, collectively we transform.

If you want to know about Africa, read our literature - and not just 'Things Fall Apart,' because that would be like saying, 'I've read 'Gone with the Wind' and so I know everything about America.'