Multicultural is not a description of a category of American writing-it is a definition of all American writing.

In Crash, you've got a pathological cop who at the end justifies police brutality. He tells the naïve, young cop that you're going to end up the same as him. He's the most sympathetic character in the movie. So, the naïve cop ends up murdering this Black kid and tries to cover up the evidence. It sort of justifies police brutality and the planting of evidence which is what happened in the O.J. Simpson case.

I don't know why people always compare me [ with Amiri Baraka] I was never part of the Black Arts Repertory Theater or the Black Arts Movement; people who claim that I was are wrong. I was downtown. I was living in Chelsea when they were operating in Harlem.

Americans are fickle. And what constitutes the enemy is always changing. Believe it or not, at one time Blacks were the favored model minority over Asian Americans.

Tea Party members go to meetings on Medicare scooters.

There would be no Rock and Roll without Ike Turner, James Brown, Chuck Berry, Fats Domino, Allen Toussaint, etc. Fake ghetto books and fake ghetto music. Elvis Presley, whom they idol, is merely a karaoke makeover of James Brown and Chuck Berry.

In the middle of the next century, when the literary establishment will reflect the multicultural makeup of this country and not be dominated by assimiliationists with similar tastes, from similar backgrounds, and of similar pretensions, Langston Hughes will be to the twentieth century what Walt Whitman was to the nineteenth.