So, poetry becomes a means for useful dialogue between people who are not only unknown, but mute to each other. It produces a dialogue among people that guards all of us against manipulation by our so-called leaders.

There are two ways to worry words. One is hoping for the greatest possible beauty in what is created. The other is to tell the truth.

We need everybody and all that we are. We need to know and make known the complete, constantly unfolding, complicated heritage that is our black experience. We should absolutely resist the superstar, one at a time mentality that threatens the varied and resilient, flexible wealth of our Black future.

As a poet and writer, I deeply love and I deeply hate words. I love the infinite evidence and change and requirements and possibilities of language; every human use of words that is joyful, or honest or new, because experience is new... But as a Black poet and writer, I hate words that cancel my name and my history and the freedom of my future: I hate the words that condemn and refuse the language of my people in America.

Anytime you see white men suppose to fight each other an you not white, well you know you got trouble, because they blah-blah loud about Democrat or Republican an they huffing an puff about democracy someplace else but relentless, see, the deal come down evil on somebody don have no shirt an tie, somebody don live in no whiteman house no whiteman country.

The music of language became extremely important to me, and obvious to me. By the time I was seven I was writing myself. I was a poet

I wrote those poems for myself, as a way of being a soldier here in this country. I didn't know the poems would travel. I didn't go to Lebanon until two years ago, but people told me that many Arabs had memorized these poems and translated them into Arabic.