As my Popo used to say, life is a tapestry we weave day by day with threads of different colors, some heavy and dark, others thin and bright, all the threads having their uses. The stupid things I did are already in the tapestry, indelible, but I’m not going to be weighed down by them till I die. What’s done is done; I have to look ahead.

I was a lousy journalist. I could never be objective. Sometimes I invented the whole story.

Now of course we have Black historians, but they're usually men. We get the perspective always, the slanted perspective, of what has happened. The battles, the things achieved, the laws, but where are the people, the families? What happens inside the houses, inside the minds and the hearts? That's what I'm interested in.

Everyone has a story, the air is full of stories. The creative process is mysterious, I don't know why it is that suddenly a theme will take hold of me and refuse to leave me in peace until I investigate it and write it.

All stories interest me, and some haunt me until I end up writing them. Certain themes keep coming up: justice, loyalty, violence, death, political and social issues, freedom.

The idea of the book ["The Japanese Lover"] came in a conversation that I had with a friend walking in the streets of New York. We were talking about our mothers, and I was telling her how old my mother was, and she was telling me about her mother. Her mother was Jewish, and she said that she was in a retirement home and that she had had a friend for 40 years that was a Japanese gardener. This person had been very important in my friend's upbringing.

We need a global approach to this from all sides. We need to educate people, we need the scientists to create new technologies, we need the engineers to create the networks, we need every human being to be aware of how precious water is and save it. Everybody has to be involved in a very firm and assertive way.