If you created a place in air where they're breathing and running around in, and then they speak in that fictional milieu, it's perfectly authenticated because the whole world relies on you, who've made it possible.

Once I became historically aware, I realized there are these formative moments of history tied around tragedy and disaster and sacrifice, that led people to survive and take stock and move on with some kind of notion of betterment.

Much of the visualizing is imaginative.

My grandfather is Portuguese. He betrayed what was expected of him and married my grandmother of African descent on my father's side.

There's an imperative to make sure you distinguish fiction from the fact, because if the fact is doing the work, why did you do fiction? And once you raise the question of why - why do fiction? - then you have to answer it in your text as a kind of enactment of the answer.

Eliot said that "genuine poetry can communicate before it is understood." What he meant by that is, the emotional understanding comes before you understand the argument that follows later in the text.

I try to be even-handed and fair-minded about my view of history. I don't romanticize one side and demonize the other, though I do think that if you're suffering a lot, especially in the Bob Marley sense, suffering becomes a kind of university out of which you'll learn some hard lessons.