I started writing the book without realizing I was writing a book. That sounds stupid, but it's true. I'd been trying and failing to make a different manuscript work, and I thought I was just taking a break by writing some short stories. I'm not a very good short story writer - the amazing compression that is required for short stories doesn't come easily to me. But anyway, I thought I'd try to write some short stories. And a structure took shape - I stumbled upon it.
By sixteen I thought, "Ah, this is all crap, you're all sheep, I'm not going to church, leave me alone. " And then at a certain point in my teens I started to go to Catholic churches, by myself. Not because I wanted to be Catholic, but because I wanted to light a candle and say something like a prayer and just sit there. There was something I was missing or trying to reconnect with. But it was a secret at the time. I'd developed this cynical persona and the last thing I wanted to admit was that I was skulking around churches in my spare time.
There is a forgotten black middle class in America - a group which is huge but underrepresented in the media and in art. It's difficult to talk about these things, because it forces one to talk in generalities, but that's my view. I do think the idea of a blanket class for black people is unfortunately still present.
Certainly I had from an early age a sense of the power and beauty of religious texts - the awesome magnitude of the Bible stories I was reading as a child. The hymns. The sermons. I can still vividly hear the sermons and the pieces of soft piano music played after them, the preacher asking if anyone wanted to come up to the altar and accept Christ as their savior.
I think a lot about race and the burdens of representation. There's an idea that because I'm writing a book set around the time of the Great Migration, and happen to be black, I'm trying to write a definitive account of the Great Migration, the so-called "black experience. " That's not what I'm doing, and it can be frustrating.
The critics and the reviewers are more frightening than anything else!
My book has a pre - civil rights setting with a post - civil rights sensibility. I believe less and less that there is something called "The Black Experience," though undoubtedly there was one once.
At some point I just acknowledged, at least to myself, that I had a great deal of respect for people of faith. Faith is a strange and wonderful thing. You come up to a kind of wall of unknowing and instead of turning back in despair you leap over it into something else. The Church isn't why I'm a writer, but it's probably a part of it.
Racial terrorism affects the lives of white people and black people and everyone, everything. Racism is contaminating. It can affect the dogs in the street. So the process of beginning to rid the country of prejudice was in itself a kind of nation-building.
Half of what's wrong with people today is that they ain't got no place to go that makes them peaceful.
If there had never been the Great Migration there would never have been jazz, there would never have been Michelle Obama. A lot of amazing black people exist in this country because of the Great Migration. That's nation-building.
I think of my success as a kind of fluke. How else could I possibly think of it? And although it's a banal thing to say, I wrote my book because I was writing my book. At first I didn't know I was writing it, and one of the amazing things that happened as I was putting sentences down on paper is that some of the things that are most sacred and important to me rose to the surface of the prose.
I couldn't imagine a book with many characters in it and one of them not being gay. It would have felt like a glaring and problematic omission for me. But I also wanted to write that character as a person, not just a gay person.
I've been writing all my life. Even though I didn't have sort of careerist aspirations as a writer, it was very much my identity.
There's a stereotype that to be a strong black woman is to be strong about being black.
One of the things that writers worry about is finding a voice. I don't think it's a thing that you find so much as it is something that comes to you, or that presents itself.
I think being consistent is really important. In the arts there's a misconception that you sit around waiting for the muse to come, and that it's all really mystical and mysterious. In reality, sometimes you have to fake it till you make it.
There is still an assumption among many people that to be black is to be lower class. In the last fifteen to twenty years, perhaps even further back than that, there's also been an explosion of a very wealthy black class in the United States, but those people are often treated as special cases: they're athletes, entertainers. Jay-Z. Basketball players. The country metabolizes the fact these rich black people exist, but it seems only to reinforce the idea that every other black person is limping along in poverty.
I really, deeply believe in the primacy of character. I believe that my job as a writer is to put a believable human being on a page.
The correlations between real life experience and the storylines in novels are never as direct or simple as they might seem.