You can say I had a severe case of 'Roots' envy. I wanted to be like Alex Haley, and I wanted to be able to... do my family tree back to the slave ship and then reverse the Middle Passage, as I like to put it, and find the tribe or ethnic group that I was from in Africa.

I don't think the riots derailed the civil rights movement.

I use African-American, because I teach African Studies as well as African-American Studies, so it's easy, neat and convenient. But sometimes, when you're in a barber shop, somebody'll say, "Did you see what that Negro did?" A lot of people slip in and out of different terms effortlessly, and I don't think the thought police should be on patrol.

Conspiracy theories are an irresistible labor-saving device in the face of complexity.

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."

I try to be sensitive, but the atmosphere I create is very supportive. One overriding premise of the series is that guilt is not heritable. It's good to know about them, but you are not responsible for them. You don't have to apologize for them. It's a process of knowing, and the more you know, the richer the sense of yourself. The firmer your foundation as a human being is

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.