I really dislike it when people talk about "experimental," because any good writer is experimental.

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.

I'm still divided in my principles and what I think is right and what I'm actually able to do, whether talking about writing or being a citizen or being a husband or being a father. And I'm trying to get better.

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.

Our thoughts, our language, are always at a distance from whatever they're trying to describe. We have other kinds of languages, like mathematics, like music, like art, but there's always that gap.

My grandfather had asked me many times whether I'd like to come to South Carolina with him. He wanted to introduce me to our people down there and I didn't want to go. In those days, the South was still a place where black kids were lynched. Something horrible could happen to you. I've had that feeling my whole life.

I can't pretend that I did one really awful thing - I took a bite out of the apple but now I'm never going to sin again.