Once you begin to talk about wealth inequality, especially as it relates to corporations and big banks, or engage in an indictment of U.S. foreign policy, you are really getting at the center of a society that is very fearful of that kind of critique.

We don't hear our president [Barack Obama] talking about the need for high-quality jobs for everybody, giving it priority, not just giving a speech in Detroit. That's fine, but speaking to Tim Geithner, speaking to Larry Summers. When are you going to make jobs, jobs, jobs a priority rather than Wall Street, Wall Street, Wall Street a priority? That's what I'm concerned about.

I'm praying for Barack Obama to stay on the tightrope because I want to fight his right-wing critics. I want to down I want to ensure they don't lie about him. I'm sure they don't demonize him, and too much of that is going on. So I don't want my critiques to be in any way confused with the right-wing critiques, even though I'll fight for the right wing to be wrong in that regard.

Like Richard Ellmann on James Joyce, Arnold Rampersad on Ralph Ellison is in a class of its own. His masterful and magisterial book is the most powerful and profound treatment of Ellison's undeniable artistic genius, deep personal flaws, and controversial political evolution. And he reveals an Ellison unbeknownst to all of us. From now on, all serious scholarship on Ellison must begin with Rampersad's instant and inimitable classic in literary biography.

Aesthetics have substantial political consequences. How one views oneself as beautiful or not beautiful or desirable or not desirable has deep consequences in terms of one’s feelings of self-worth and one’s capacity to be a political agent.

Going all the way back to Jeremiah Wright and Tavis Smiley and Van Jones and even Shirley Sherrod and maybe even Maxine Waters and Charles Rangel. We're going to see what his [Barack Obama] response is.

Context shapes who you are.