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I think I became a writer because I didn't know of anything else to do. Maybe some incident from my childhood influenced me.

I am often asked why I started to write poetry. The answer is that my motivation sprang from a visceral need to creatively articulate the experiences of the black youth of my generation, coming of age in a racist society.

The fact that I have always been deeply invested in politics, and African politics in particular, inevitably played a role in my first novel and, of course, in my decision to write about a handful of particular conflicts in Africa as a journalist.

I wrote poems in my corner of the Brooks Street station. I sent them to two editors who rejected them right off. I read those letters of rejection years later and I agreed with those editors.

I was an angst-y journal writing kid.

Reading 'Youth in Revolt' might have ruined my career because suddenly I wanted to abandon all the emotional truth of something and just go out far on a literary limb with completely implausible things that relied completely on voice and humor. And what saved me is realizing that I couldn't do that very well.

I had started writing as a poet in a closed, post-Revival, claustrophobic world, where the shadows of the national upheaval and the intense effort - the intense self-conscious effort - to make a literary movement were still evident. Now we lived a life as writers that was more cosmopolitan, more open, that had more travel and exchange.

I'd been writing poems for many years, but most of them I didn't like. Then, when I was 23, I wrote one I did like, sent it to 'The Paris Review' - the highest publication I could think of - and they accepted it. No other moment in my literary life has quite come close to that.

My writing always came out of a very personal place, out of an attempt to stay sane.

I wrote my first book without being to Ethiopia since I was two years old.