Oh, my other goal was that I wanted to talk about this area and this time in history. I wanted to talk about growing up in Oakland, a white kid, from this kind of generation of broken homes and listening to hip-hop.

There comes a time. The pain of existence transcends the fear of change. There comes a time.

There's all this evidence that we leave now of our life, especially if you're a comedian or an entertainer. I mean, I guess that was always kind of true, but now there's a lot more. We leave a deeper trail. Like a snail trail of our memories, you know? But it's not really about arousal. It's about artistic droppings.

I'm admitting that I don't know that to be true, but it does sound pretty good. So a big part of my childhood was affecting black culture and black accents and black music and anything black I was into.

There were some particular themes that I knew I wanted to hit, and when I got deeper into the project I found that it was becoming serious in and on its own. By the end, it's not very funny at all. I think, now, that part of the power of the book is that the jokes are kind of sparkly distractions.

When you start doing comedy, you think to yourself, "I want to be a headliner." And you become a headliner, and you're like, "Oh wait, this isn't what I meant. I meant I want to be a headliner that's famous enough that people come see me specifically." And that's a huge leap, because most of the time most of the audience is there to see comedy in general. They're not there to see you.

I knew what I wanted to do when I set out. I knew that I wanted to write a book that told the story, obviously. I wanted it be comedy first, because I felt like there already had been childhood druggy stories that were very serious, and I felt that the unique thing here was that I was a comic and I could tell the story with some levity, and I have been laughing at these stories my whole life.