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My black-and-white work is more of a celebration, and the color work became more of a critique of society.

My writing has been largely concerned with the depicting of Negro life in America.

If you write nonfiction, a historical account of what really happened, first of all, it's always white men who do that, and you don't have the voices that are really interesting to me, of the people who are not sheltered by the big umbrella of the establishment.

I myself saw the great works of Western civilization for the first time in my high school in Lithuania in bad black-and-white reproductions on miserable paper. That was, for many years, what art was for me. But from those miserable black-and-white reproductions, I got something, something unmistakable.

My composition often goes toward the black middle class or the black super-wealthy or strong historical black figures.

I'm writing in English; I'm writing for a Western audience, but the people I'm surrounded by in my daily life are mostly non-white.

White writers in many cases choose not to populate their fiction with people of color. A lot of what I'm doing is trying to write against that, not about race but against the avoidance of race that's such a dominant model in white literary discourse.

I was so inspired by Dr. King that in 1956, with some of my brothers and sisters and first cousins - I was only 16 years old - we went down to the public library trying to check out some books, and we were told by the librarian that the library was for whites only and not for colors. It was a public library.

We did an album one time called White Mansions, about the civil war, but it was written by a guy from England. His looking at it from over there and it not being a part of his history made it so he could be objective.