My plays are for the kind of black people who relate to funk music, to Parliament-Funkadelic. When those guys get out of a spaceship - the idea that black people are from outer space, theres a poetic truth to that. We are this vast people.

I don't consciously start writing a play that involves issues. After it's done, I sit back like everyone else and think about what it means.

Every play I write is about love and distance. And time. And from that we can get things like history.

The writing of Topdog was a great gift. I feel the play came to me because I realized that my circumstances, while causing me despair and heartbreak, also held great possibility, if only I could see it.

I realized that my circumstances, while causing me despair and heartbreak, also held great possibility, if only I could see it. I knew that I was learning one of the most important lessons of my life: that instead of waiting for the perfect opportunity, I should work toward a realization that every opportunity is perfect. Each moment is perfect and heaven-sent, in that each moment holds the seeds for growth. Difficulty creates the opportunity for self-reflection and compassion.

Each moment is perfect and heaven-sent, in that each moment holds the seeds for growth.

People ask me when I decided to become a playwright, and I tell them I decide to do it every day. Most days it's very hard because I'm frightened - not frightened of writing a bad play, although that happens often with me. I'm frightened of encountering the wilderness of my own spirit, which is always , no matter how many plays I write, a new and uncharted place. Every day when I sit down to write, I can't remember how it's done.