Each time he suggested they get married, she said no. They were too happy, precariously so, and she wanted to guard that bond; she feared that marriage would flatten it into a prosaic partnership.
I don't believe that art and politics or social issues must be separated. In writing about marriage, for example, money can be a big factor, and money is linked to earning, and earning is influenced by politics.
They themselves mocked Africa, trading stories of absurdity, of stupidity, and they felt safe to mock, because it was a mockery born of longing, and of the heartbroken desire to see a place made whole again.
I ask questions. I watch the world. And what I have discovered is that the parts of my fiction that people most tell me are 'unbelievable' are those that are most closely based on the real, those least diluted by my imagination.
Non-fiction, and in particular the literary memoir, the stylised recollection of personal experience, is often as much about character and story and emotion as fiction is.
In particular I want to talk about natural black hair, and how it's not just hair. I mean, I'm interested in hair in sort of a very aesthetic way, just the beauty of hair, but also in a political way: what it says, what it means.