The Afrocentric exploration of the black past only scratches the surface. A full examination of the ancestry of those who are referred to in the newspapers as blacks and African Americans must include Europe and Native America.

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.

I'm sure that a previous generation of Jews who published radical newspapers and journals would be critical of [David] Simon's projects. These were left wingers who suffered casualties in some of bloodiest strikes in American history.

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.

Constance L. Rice, co-director of the Los Angeles of the Advancement Project, told the Times that Seltzer might have been influenced by David Simon's fake ghetto series, "The Wire." It figures. Isn't this sexism? Isn't this a double standard? They're hard on this young woman for her fake ghetto book, yet praise these White guys for theirs. So there's a big market in downing Black men.

I guess when it comes to this privileged White racist feminist movement they respect someone who treats them rough: John Wayne. Frank Sinatra. Phillip Roth.

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