Hateful material travels the globe. A few years ago, CNN, America's Der Sturmer, ran a story about Black parents being so low down that they abandoned their children and the children had to eat rats. I was at a University in Wisconsin at the time and the mother of a student from South Africa called to see whether the story was true. She had seen it all the way over there. The story was untrue. The children lied. CNN never corrected the story.

I was on a panel with light skinned Blacks and a famous gay science fiction writer, who were complaining about how Blacks are against gays and light skinned Blacks and how intolerant Blacks are of different groups. My position was that Blacks were among the most humanistic, tolerant groups in the country and that across the street from my house in Oakland was one inhabited by White gays.

Regardless of the criticisms I receive from the left, the right and the middle, I think it's important to maintain a prolific writing jab, as long as my literary legs hold up.

When I say Afro-American aesthetic, I'm not just talking about the United States, I'm talking about the Americas. People in the Latin countries read my books because they share the same international aesthetic that I'm into and have been into for a long time. And it's multicultural.

If the British prose style is Churchillian, America is the tobacco auctioneer, the barker; Runyon, Lardner, W.W., the traveling salesman who can sell the world the Brooklyn Bridge every day, can put anything over on you and convince you that tomatoes grow at the South Pole.

My stuff is direct. Critics have compared my writing style with boxing all the way back to 1978 when my first book of essays appeared: it was compared to Muhammad Ali's style.

The treatment of African and African American culture in our education was no different from their treatment in Tarzan movies.