A Quote by Colson Whitehead
I think each book has its own way of accommodating my concerns, whether it's about race, America, technology, the city.
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No matter how old I get, the race remains one of life's most rewarding experiences. My times become slower and slower, but the experience of the race is unchanged: each race a drama, each race a challenge, each race stretching me in one way or another, and each race telling me more about myself and others.
I saw one of the absolute truths of this world: each person is worrying about himself; no one is worrying about you. He or she is worrying about whether you like him, not whether he likes you. He is worrying about whether he looks prepossessing, not whether you are dressed correctly. He is worrying about whether he appears poised, not whether you are. He is worrying about whether you think well of him, not whether he thinks well of you. The way to be yourself ... is to forget yourself.
I decided to try to make a show of my own where I could invite an audience to obsess about race the way I sometimes do. So it was an attempt to dig into the race and history in America, and to make it personal and dramatic.
Eventually, we want to be able to say, whether in your own neighborhood or a city across the globe, our technology will be needed to break through barriers - whether it's money, time, languages, or simply choice.
I think at the end of the day with any technology, whether you're talking about facial recognition technology or anything else, the people that use the technology have to be responsible for it, and if they use it irresponsibly, they have to be held accountable.
Winter in Peking is insurpassable, unless indeed it is surpassed by the other seasons in that blessed city. For Peking is a city clearly marked by the seasons, each perfect in its own way and each different from the others.
Each book tends to have its own identity rather than the author's. It speaks from itself rather than you. Each book is unlike the others because you are not bringing the same voice to every book. I think that keeps you alive as a writer.
I love the way that each book -- any book -- is its own journey. You open it, and off you go. You are changed in some way, large or small, by having traveled with those characters.
I think each book sort of finds its own theme as it goes on. 'Warded Man' was fear. 'Desert Spear' was exploration of the other. 'Daylight War' was relationships. Some of this is intentional, and some of it evolves naturally. The series as a whole is obviously something I have given a lot of thought to, but each book is its own animal as well.
I suppose also that watching marketing and publicity stuff play out from behind the scenes, making those plans and seeing each piece fall into place or not, each year, for each book, has made me a little more tranquil about the process for my own book than I might otherwise be.
For black America needs a politics whose first mission isn't the reinforcement of the idea of black America; and a discourse of race that isn't centrally concerned with preserving the idea of race and racial unanimity. We need something we don't yet have: a way of speaking about black poverty that doesn't falsify the reality of black advancement; a way of speaking about black advancement that doesn't distort the enduring realities of black poverty.
Now, to describe the process of the Wrapped Reichstag, which went from 1971 to '95, there is an entire book about that, because each one of our projects has its own book. The book is not an art book, meaning it's not written by an art historian.
I agree that all kids of all colors love hip-hop. My point in writing the book was to raise questions about the ways the hip-hop generation and the millennium generation, both who have lived their entire lives in post-segregation America, are processing race in radically different ways than any generation of Americans. I think they have a lot to tell us as a country about ways of addressing race matters.
I loved that these two guys argued with each other as if movies actually mattered. Nobody I knew talked about movies that way, but Siskel and Ebert took each movie as it came and talked about whether it was a success on its own terms.
I think the key anecdote in the book is when Colin [Powell] and I were discussing Iraq. Colin was upstairs in the Treaty Room, in the residence. And he talks about his concerns about the use of military in Iraq. And I said I felt the same concerns, but it might be that we have to use it. In which case, he said, "I support you."
We’re all in the end-of-our-life book club, whether we acknowledge it or not; each book we read may well be the last, each conversation the final one.
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