I really love James Joyce, Dubliners and other work. And I was interested in the way the dash was used in English topography - in his work particularly - and I realized there was no compulsion to use those ugly dot-dot curlicues all over the place to designate dialogue. I began to look around, and found writers who could make transitions quite clear by the language itself. I'm a bit of a maverick now. I'm always trying to push the medium.

There is no American history. There is no French history. There is no John Wideman. There are all these dreams that are floating around. People construct them and fight with them and criticize them, and the world goes on. I don't think the stars pay much attention.

To be a survivor as an African American man - maybe any man - you have to be pretty tough. Or at least that's what we all understand.

I really dislike when people talk about "experimental," because any good writer is experimental. As a writer, you don't know what the hell you're doing. You're just doing it. You hope it works out well. I've been experimenting with these things myself in my own books.

If Mumia Abu-Jamal has nothing important to say, why are so many powerful people trying to shut him up?

When you're at the basketball court watching a game, one person may be talking about a fight he had with his wife, another is talking about the last hard-on he got, someone else is talking about the presidential election. The language and the tone and the voice - I'd love to be able to capture that spontaneity.

I don't tell everything. I want the reader to have the feeling that maybe they know the whole truth, but they don't.