Growing up in New York, there are a lot of tenement buildings and a lot of projects. You don't leave your projects too much. The laundry's there. The grocery store is there. Everything takes place right there. When I got knowledge of myself and thought about moving around the city, hip-hop was something that helped me.

I'm me, and the me that's me is me and is going to continue to be me, and it's always reaching and growing.

Being black in America - especially as I was growing up - the feeling of oppression, the feeling of being outcast, the feeling of not having a voice was part of my life.

The influence of the Shaw Brothers films on my work has been profound. In addition to the richness of Asian culture, we at Wu-Tang were fascinated with the struggles between the oppressed Chinese villagers and the repressive Manchu authority and how it mirrored our own experiences growing up as black kids in America's inner cities.

West To A Land Of Plenty' shows a family heading west, first on board a train, and then going into areas as yet untamed by rail by way of an ox-drawn wagon.

My grandmother spoiled my father rotten, and he grew up expecting women to do whatever he wanted. When he married my beautiful mother, Elsa, he expected her to give up her career as a champion ballroom dancer and become a good wife and mother, which she dutifully did.

Readers tell me that my novels are filled with significant mothers. Do I realize this? Do I do it on purpose? The truth is, I don't. I think of myself as a writer of family stories. I write more often than not from a male point of view, and I usually begin by focusing on siblings, spouses, even fathers, before I think about the mothers.

It was like a cliche for the parents in my hometown to let their kids watch 'Friends.' I had no interest at first, because I could not understand a word.