I think there is a debate in the arts about, you know, whether we must strive for art for art's sake, and you know, kind of try to keep political debate out of our work. And to that I say, I'd like you to show me an example of, you know, this so-called apolitical art. I don't think there's any such thing.

I remember being influenced by great artists when I was a kid - not to call myself a great artist - but people who I thought were great enough that they really made a difference. And so I would never want to be disappointed by them, and I want to make sure I never disappoint audience.

I suppose it's fair to say that I am interested in the invention of self or selves. We're all born into certain circumstances with particular physical traits, unique developmental experiences, geographical and historical contexts.

I've actually always started with what feels most natural. Which is, the people who surround me in my daily life. So, the first show I ever wrote, which is called 'Surface Transit,' was based in part on people I knew from my family. Co-workers, ex-boyfriends. All of that kind of thing.

Learning of my father's passing at age 55 not only shattered the world, far from home, that had become my reality, but catapulted my childhood and relationship with family - which had felt like another lifetime - into the present.

When I came there I found all my family gone, for the Indians had killed five people in the winter near that place, which frightened my wife and family away to Roanoke about 35 miles nearer in among the inhabitants, which I was informed of by an old man I met near the place.

My mother and father taught me about black excellence and dynasty. They experienced racism personally, and when something like that happens to you and not around you, you develop a different perception than someone who has never experienced racism a day in their lives.

Being on 'Good Times' was the first time I was around a group of people that wasn't my family.