I said that I'm only there to write the truth, I'm not going to cover anything up, but I'll put everything in context and get as close to the truth of this person as I can.

I discovered in writing the biography of Bill Clinton that it is actually easier to write a biography of someone who is dead. Although you can't interview them, you have a fuller perspective on their whole life after they're gone and people are more willing to talk about them.

I want my books to last, to stand the test of time, and to do that I focus on the forces that shape the subject - the cultural and sociological geography - to capture them in a way that will explain them no matter what they are doing.

You also had in Detroit that summer, an early variation of Ferguson. A black prostitute was shot in the back by police. And all of the efforts that a very progressive police chief and mayor of that period had put into trying to restore race relations started to fall apart again, and you could see that unraveling for several years until the riots or rebellion of 1967.

It seemed that I could tell the whole story pretty powerfully in those 18 months between October of '62 and the spring of '64 when they were all at their peak. And yet you could see some of the shadows of Detroit's demise coming.

It's hard to know exactly how people develop the characters they do. There could be people from humble beginnings that turn into jerks. Some characteristics are just part of that special soul of that human being.

So, I mean, there's still vast swaths of the city that are suffering from a lack of jobs and poor housing and poor public schools, but they are building momentum - you know, techies, foodies, artists, musicians, all coming to Detroit. So there is this vibrancy. You see it in the newspapers every day - some story about the new Detroit.