I think that Michael Jackson, just as an entertainer, as a figure who embodies the contradictions of Black identity, and the possibilities of R&B music in the '70s and '80s will continue to be one of the most recognized and formidable human beings that we've ever produced in our tradition.

When you look at a guy like a Jay-Z or look at a guy like a Nas, you don't necessarily qualify them as conscious rap purely, although they are extremely conscious of the social inequities that prevail.

There are many Americans who regardless of the intelligence or the profound political persuasion of a figure will never vote for a black man. Not all of them are racists; some are skeptical, and some are suspicious.

I guess I'm a Luddite.

My job is to explain stuff you don't know or already know and have to unlearn. My job is to teach you stuff you don't know that you need to know, stuff you should know. I'm going to take what you already know and re-describe it.

White privilege allows a certain kind of leisure that can be deployed by white people of advantage toward our restoration. That's all true and good. But it also suggests that there is an individual approach to the issues that many of these white people have taken up as a recognition of their tie to and responsibility for some of the inequities that exist. And I don't think it has to be an either-or. I think it has to be a bifocal approach.

Ralph Ellison is a classic work of erudition, grace, and elegance. Rampersad offers us an Ellison whose gifts and warts orbit the same universe of creative genius. Like Ellison's work, Rampersad's text wrestles eloquently with difficult truths about race, politics, and American life.