There are many possible interpretations of what it means to create dangerously, and Albert Camus, like the poet Osip Mandelstam, suggests that it is creating as a revolt against silence, creating when both the creation and the reception, the writing and the reading, are dangerous undertakings, disobedience to a directive.

In the 1980s, when people were just beginning to talk about AIDS, there were just a few categories of those who were at high risk: homosexuals, hemophiliacs, heroin addicts, and Haitians. We were the only ones identified by nationality.

The way the media cycle works, the way the news works, and the way people's attention span works, is that we only learn that people exist when there is crisis.

I think it is important to reach people through arts and literature, because then you establish a connection that's not an instant crisis.

My models were oral, were storytellers. Like my grandmothers and my aunts. It's true, a lot of people in my life were not literate in a formal sense, but they were storytellers. So I had this experience of just watching somebody spin a tale off the top of her head. I loved that.

That experience of touching down in a totally foreign place is like having a blank canvas: You begin with nothing, but stroke by stroke you build a life. This process requires everything great art requires-risk-tasking, hope, a great deal of imagination, all the qualities that are the building blocks of art. You must be able to dream something nearly impossible and toil to bring it into existence.

More and more people are able to access information - thank goodness we have the Internet and if you are interested you can find things. Which is different than even 20 years ago.