But it's clear to me that us slow-poke writers are a dying breed. It's amazing how thoroughly my young writing students have internalized the new machine rhythm, the rush many of my young writers are in to publish. The majority don't want to sit on a book for four, five years. The majority don't want to listen to the silence inside and outside for their artistic imprimatur. The majority want to publish fast, publish now.

This country wants to live in the illusion that it is tolerant but also wants to be able to practice intolerance.

Sometimes you just have to try, even if you know it won’t work.

It was like being at the bottom of an ocean, she said. There was no light and a whole ocean crushing down on you. But most people had gotten so used to it they thought it normal, they forgot even that there was a world above.

I think men spend so much time passing for being men. There's a sense among many writers of color that the most invisible figure that was sitting between all of us was the nerd. But it was the thing we weren't saying, that people were afraid to say, like, "Yo, what we do is nerdy by definition."

In '94, I started writing a novel about an enormous terrorist act that destroyed the United States. The novel takes place twenty years after this destruction, with all the stuff that we're dealing with now - a dirty war, the disappeared, the concept of terrorism. Anyway, 9/11 happened some years into the process, and I was like, OK, I don't have a novel.

In my view, a writer is a writer because even when there is no hope, even when nothing you do shows any sign of promise, you keep writing anyway.