There are certain things that happen in New York that just don't happen anywhere else.

I read an interview with a Japanese freestyle jazz musician once, and he said something like, "Everything I'm going to tell you is not going to be true." He's not saying, "I'm trying to lie to you." But he's kind of saying that you can never say what something really is.

It's weird because there is progress somehow. But there's so much that just feels the same. How important is that rank? How important is it that I am allowed to make these decisions? What does that really mean? What is progress? Is it progress that a black guy gets to push a button for the nuclear bomb? Is that progress? Maybe, I don't know.

That's such a great book [Bloods]. That's a perfect way to articulate this thing that we're talking about. Just because someone is a black general, doesn't mean this person is going to have a certain outlook on it.

The Sellout is about friends and relatives who have touched me in real ways.

I'm doing all these interviews with the British press, the Italian press, and others. They all want to talk about this stuff. I don't have a stance; I don't have a go-to thing to say about any of this.

I'm not much of a self-promoter or anything. It's not something I feel comfortable doing. But sometimes I would get frustrated, I'd think, "You know, this is a good book, how come no one is paying attention to it?" So it's nice to have some recognition. I don't write to put it in a drawer, I hope that people see it. But what am I willing to do for that? I struggle with that a little bit. I try to be accommodating, but I'm pretty much a loner. I'll say this, and it'll sound like bullshit, but it's not: I don't really pay attention to this stuff very much.