I always know the ending; that's where I start. - Toni Morrison

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.

We are the moral inhabitants of the globe. And to deny it is to lie in prison. Oh yes, there’s cruelty, and cruelty, because it destroys the perpetuator as well as the victim, is a very mysterious thing. But if you look at the world as one long brutal game between “us” and “them,” then you bump into another mystery. And that’s the mystery of the tree-shaped scar, and the canary that might sing on the crown of a scar. And unless all races and all ages of man have been totally deluded, there seems to be such a thing as grace, such a thing as beauty, such a thing as harmony — all of which are wholly free, and available to us.

All the time, I'm afraid the thing that happened that made it all right for my mother to kill my sister could happen again. I don't know what it is, I don't know who it is, but maybe there is something else terrible enough to make her do it again. I need to know what that thing might be, but I don't want to. Whatever it is, it comes from outside this house, outside the yard, and it can come right on in the yard if it wants to. So I never leave this house and I watch over the yard, so it can't happen again and my mother won't have to kill me too.