My parents were my first major influences. They ran a literary magazine called Imagine, which had stories about Accra; articles on art, science, film, books; cartoons—which I especially loved. They were (and still are) my heroes. I discovered Toni Morrison when I was thirteen, and I was hooked. I devoured everything she wrote. I remember reading Paradise, and while its meaning completely evaded me then, I was left feeling like it was the most amazing book written and that one day I wanted to write a world full of strong female characters, just like Ms. Morrison had done.

(Which writers — novelists, playwrights, critics, journalists, poets — working today do you admire most?) For novelists, I’m a forever-fan of Sabaa Tahir. Her debut fantasy — “An Ember in the Ashes” — was the epic tale that inspired me to write “Children of Blood and Bone.” It moved me in ways a story hadn’t moved me before and gave me a chance to imagine a fantasy world with characters I’d never gotten to see before. For journalists, Shaun King. The work Shaun does for the black community is incredible. I respect his strength, tenacity and passion, and I admire him deeply for the commitment to getting our stories out.

I started writing when I was mute. I always thought I could write because I loved to read so much. I loved the melody of Poe and I loved Paul Laurence Dunbar. I had memorized so much of Dunbar, Poe, Shakespeare, James Weldon Johnson, Longfellow. When my son was able to be quiet enough to listen, I taught him those poets. A few years ago he gave a reading of his poetry and he started the reading by saying "First, let me recite to you some of the poets my mother raised me on . . ." In the contemporary world, I confess to having been impressed by Ann Petry. I had The Street in my hand, I used to carry it around… (1988)

I consider Toni Morrison the patron saint of my writing. To write with her level of honesty and clarity is my North Star. Virginia Woolf is referenced in this book again and again, both for her work and for her tragic life, which, I suppose, are one and the same. Sor Juana Inés de la Cruz became a model for my rebellion. And the list goes on and on. None of my books could have been written without these extraordinary authors. I'm indebted to all the women who came before, those who paved the way as well as those whose talents were extinguished, buried, or sublimated because the world was afraid of their strength. It's thanks to their rebellions, big and small, that I get to lead this extraordinary life-that is, a life completely of my choosing. I am myself in a world that pressures me to be otherwise, a world that doesn't love me, wasn't for me.

(Which writers — novelists, playwrights, critics, journalists, poets — working today do you admire most?) Tash Aw, Niq Mhlongo, Rachel Seiffert, Mary Gaitskill, David Szalay, Leila Aboulela, Dave Eggers, Tracy K. Smith, Tessa Hadley, Richard Flanagan, Claire Messud, James Lasdun, Ta-Nehisi Coates, Vivian Gornick, the late Bharati Mukherjee, Deborah Levy, John Gregory Brown, Amit Chaudhuri, Nawal El Saadawi, Margo Jefferson, Jesmyn Ward, Lynn Nottage, Janet Malcolm, Jamaica Kincaid, Alice Walker, Peter Orner, Susan Orlean.

(Which writers – novelists, playwrights, critics, journalists, poets – working today do you admire most?) there are so many: Jacqueline Woodson; Colson Whitehead; Celeste Ng; Natalie Bakopoulos; Justin St. Germain; Molly Antopol; J. M. Tyree; Michael McGriff; Quan Barry; Kevin Young; Jericho Brown; Clint Smith; Daniel José Older; and Kima Jones are a few.

<nowiki>[</nowiki>James Baldwin is] probably the biggest influence on me from a literary perspective.

(Who were your models when you began writing?) I was always drawn to novelists. Maupassant remains a master for me and I reread his stories and novels with more and more pleasure. Nabokov too. I like writers who manage to affect us profoundly in relatively few pages. As for Haitian authors, other than René Philoctète, who, in poetry, remains unsurpassable, there are some writers whose work enriches literature: Jacques Stephen Alexis is well known; Anthony Lespes, in my opinion, deserves to be.

(Q: Were there any established writers whom you knew and were important to your writing career during or after your apprenticeship period?) A: Mark Vinz, Cynthia MacDonald, Richard Howard, Charles Newman, Edmund White, M. L. Rosenthal, and then, although Love Medicine went out with absolutely no expectations or any prepublication notes or hype, none at all, Toni Morrison, Kay Boyle, Philip Roth, Peter Matthiessen, Anne Tyler, and Rosellen Brown read an unknown manuscript and responded with those quotes and marks of approval that appear on book jackets. These were completely unsolicited and I still find it remarkable that these writers, overwhelmed with pleas and manuscripts, picked up Love Medicine and responded. There were a great number of people kind along the way. One hears much more about the egomania and posturing of writers than one does about the devotion that writers have for one another's work. (1993)

I’ve had several teachers who inspired me. Most notable was, perhaps, an English teacher I had during my junior year of high school. All my life I’d been praised and encouraged as an artist. This particular teacher did this, but she also encouraged me as a writer, going so far as to say once, “I wouldn’t be surprised if I saw your name on a book one day.” The power of these words was enormous. I’ll never forget them. Or her.

(Q: Who are the writers who influenced your work or served as models?) A: Michael Dorris, of course: believer, critic, beloved, and the person I most admire. Other than Michael, it is hard to pick out lasting influences. I'm a browser, prey to temporary enthusiasms. In my reading life, I usually have a number of books "going" at once. Last year I read nature essays. This year, women's politics and Henry James. My favorites over the years include Flannery O'Connor, William Faulkner, Angela Carter, Gabrel Garcia Marquez, Marguerite Duras, Robert Stone, Jane Smiley, Robb Forman Dew, Jean Rhys, Adrienne Rich, Toni Morrison, Rene Char, Larry Woiwode, Christina Stead, Katherine Anne Porter, Willa Cather, Jim Harrison, the poets Louise Gluck, Mary Oliver, Sharon Olds and Donald Hall. I read Madame Bovary and Jane Austen and George Eliot over and over. (1993 interview)

I read a lot. In poetry, I liked W. H. Auden more than anyone. I loved British writers and the novels I grew up with, Twain, Dickens, and so on. I was not influenced say by Walt Whitman or anyone like that. His freedom was not my freedom, and so it didn’t affect me. But Saul Bellow had begun to write already. He freed the Jewish voice in some ways that I didn’t even recognize, but his work was all about men. Still, for Jews who are crazy about the English language, he was the one.

I read the same five people over and over again. But it’s Toni Morrison; Toni Cade Bambara is a huge influence...

I have written about Baldwin in Between Starshine and Clay and elsewhere. Baldwin means a lot to me for the following reasons: he inspires me as a writer; he inspires me for his wisdom—his insights and clarity around many issues; and I identify with the various places and peoples of the African diaspora that he writes about from France to America. My introductory essay is a reverent nod to Baldwin’s Notes of a Native Son with its personal exploration of race, histories, and countries lived in.