I could have been, and may one day well be a high school English teacher, because I've been given so much I just feel like I have to give something back. The fact that some people consider my work to be good or strong, it's nice, but I know in my heart that if it's not coming - oftentimes it's probably not coming from the best place.

But what difference does it make? ... When you're mixed, you see how absurd this business of race is.

As a journalist, I never critiqued anyone. I never review books. I've never felt qualified as a musician to say whether someone is a good musician or a bad musician. What happens with Black writers and Black artists is that if you're critiqued, for example, by a Black historian who wants to get his name on the cover of "The New York Times," and he says something, like, wacky, well, he'll get his name on the cover of "The New York Times" and he might get tenure, and your career suffers.

I put headlights in Ford vans. I still drive a Ford.

It is hard to find romance in the present because there's nothing left to the imagination.

The act of choosing what to place in your piece when you're a historian or a non-fiction writer already renders it into fiction for someone else. In some ways fiction comes a lot closer to reality. When you start talking about something as brutal as slavery and life in the American West, it's really important to take a non- judgmental stance. We romanticize a great deal about life in the American West, but I thank God I wasn't living during that time. No matter what color you were, it was rough, crude, tough living.

There has to be some mystery in life, because the joy of being a writer and the joy of being a musician is the joy of discovery. I don't want someone discovering for me what I should be discovering on my own. If a person is discovering for me, then they're living for me. It's my responsibility, indeed it's my privilege, to go out and discover the world for myself.