I'm interested in how the confessional is so abrasively critiqued today. I'm not really comfortable with simply confessing but I do think "confessing" is a major part of reckoning.

Long Division has a lot of Afrosurrealist impulses. I think the book was more Afrofuturist when it was like 700 pages.

I'm accountable - this sounds emo - to black American writing, Southern writing, Southern black American writing, American writing and my people. That's kind of what keeps me accountable.

Not so deep down, we all know that safety is an illusion, that only character melds us together. That’s why most of us do everything we can (healthy and unhealthy) to ward off that real feeling of standing alone so close to the edge of the world.

I wanted to create a book that was unafraid of black bodies, yet super interested in thinking about the relationship of love to body and sexuality without relying on tired understandings of "gay" "bi" or "straight."

I allude to Back to the Future in the 1985 story to let folks know it was an inspiration and because it literally was the most time-travelly bit of pop culture we had in the mid 80's. I can talk about their tools for considering change. First, the book is metafictive in a traditional sense where I'm showing and telling the reader that the act of writing and reading is a reflexive way to push boundaries of real and literal time travel. Writers and readers are time travellers. The question is what we do with that time we traveled when we leave a book, leave a page.

One of the problems with a lot of "confessional" writing is that it starts and stops with the confessional and doesn't really tie the "I" into a "we" at all. I'm still surprised at how mad critics get at that kind of confessional writing.