Insofar as we, critics of the black tradition, master our craft, we serve both to preserve our own traditions and to shape their direction. All great writers demand great critics.

We have to stop making excuses. One of the things that I'm careful to show is the horrendous effects of institutional and structural racism, but in the end, you can't wait for white man or a Black man to come riding in on a white horse to save you. We have to save ourselves, and that's the lesson of "The African Americans."

It's not white versus black any more, it's haves versus have-nots. Unless the black middle-classes unite to promote the interests of the black underclass, tension between them is inevitable. What we, the black middle class have to do, is think of a strategy to avert that.

No white racist makes you get pregnant when you are a black teenager.

I give a speech to the black freshmen at Harvard each year, and I say, "You can like Mozart and ice hockey..." - and then I used to say "golf," but Tiger took over golf! - "and Picasso and still be as black as the ace of spades."

Arnold Rampersad's stunningly revealing biography has, at long last, unveiled-in magisterial prose-the very complex and vulnerable man behind Ralph Ellison's own masks and myths. One of the nation's most brilliant writers emerges as all the more fascinating precisely because he was so very human. Painstakingly researched and compellingly written, Ralph Ellison is a masterwork of the genre of literary biography.

Well, certainly one of the ironies of the success of affirmative action is that the middle class within the black community no longer lives within 'black community' by and large.