The more closely the author thinks of why he wrote, the more he comes to regard his imagination as a kind of self-generating cement which glued his facts together, and his emotions as a kind of dark and obscure designer of those facts. Reluctantly, he comes to the conclusion that to account for his book is to account for his life.

I was leaving the South to fling myself into the unknown . . . I was taking a part of the South to transplant in alien soil, to see if it could grow differently, if it could drink of new and cool rains, bend in strange winds, respond to the warmth of other suns and, perhaps, to bloom

I didn't know I was really alive in this world until I felt things hard enough to kill for 'em.

I was not leaving the south to forget the south, but so that some day I might understand it

The more closely the author thinks of why he wrote, the more he comes to regard his imagination as a kind of self-generating cement which glued his facts together, and his emotions as a kind of dark and obscure designer of those facts. Reluctantly, he comes to the conclusion that to account for his book is to account for his life.

Each day when you see us black folk upon the dusty land of your farm or upon the hard pavement of your city streets, you usually take it for granted and think you know us, but our history is far stranger than you suspect, and we are not what we seem.

The artist must bow to the monster of his own imagination.