“I wrote my first novel because I wanted to read it.”

“When I write, I don't translate for white readers.... Dostoevski wrote for a Russian audience, but we're able to read him. If I'm specific, and I don't overexplain, then anyone can overhear me.”

“I am really Chloe Anthony Wofford. That's who I am. I have been writing under this other person's name. I write some things now as Chloe Wofford, private things. I regret having called myself Toni Morrison when I published my first novel, The Bluest Eye.”

“I never asked Tolstoy to write for me, a little colored girl in Lorain, Ohio. I never asked [James] Joyce not to mention Catholicism or the world of Dublin. Never. And I don't know why I should be asked to explain your life to you. We have splendid writers to do that, but I am not one of them. It is that business of being universal, a word hopelessly stripped of meaning for me. Faulkner wrote what I suppose could be called regional literature and had it published all over the world. That's what I wish to do. If I tried to write a universal novel, it would be water. Behind this question is the suggestion that to write for black people is somehow to diminish the writing. From my perspective there are only black people. When I say 'people,' that's what I mean.”

“I want to feel what I feel. What's mine. Even if it's not happiness, whatever that means. Because you're all you've got.”

“I can't tell you how I felt when my father died. But I was able to write Song of Solomon and imagine, not him, and not his specific interior life, but the world that he inhabited and the private or interior life of the people in it. And I can't tell you how I felt reading to my grandmother while she was turning over and over in her bed (because she was dying, and she was not comfortable), but I could try to reconstruct the world that she lived in. And I have suspected, more often than not, that I know more than she did, that I know more than my grandfather and my great-grandmother did, but I also know that I'm no wiser than they were. And whenever I have tried earnestly to diminish their vision and prove to myself that I know more, and when I have tried to speculate on their interior life and match it up with my own, I have been overwhelmed every time by the richness of theirs compared to my own. Like Frederick Douglass talking about his grandmother, and James Baldwin talking about his father, and Simone de Beauvoir talking about her mother, these people are my access to me; they are my entrance into my own interior life. Which is why the images that float around them--the remains, so to speak, at hte archeological site--surface first, and they surface so vividly and so compellingly that I acknowledge them as my route to a reconstruction of a world, to an exploration of an interior life that was not written and to the revelation of a kind of truth.”

“Here I am not the one to throw out. No one steals my warmth and shoes because I am small. No one handles my backside. No one whinnies like sheep or goat because I drop in fear and weakness. No one screams at the sight of me. No one watches my body for how it is unseemly. With you my body is pleasure is safe is belonging. I can never not have you have me.”