I was born in a ghetto on the North Side of Pittsburgh. I was born as Emmett Till was dying and the civil rights era was being born.
Our house was in the middle of town; behind it was the ghetto, from which Jews were sent to concentration camps.
My family didn't have any money growing up. I'm just a girl from the ghetto; from Indio, California.
Like most ghetto kids I knew it was important to be 'somebody' so I became a good soccer player, because excelling at a sport seemed to make you special.
The Christian Armenian story was the Polish Jewish story. The efforts of the Armenians to stay alive in Musa Dagh chimed with those struggling to survive the ghetto.
The main reason I wanted to be successful was to get out of the ghetto. My parents helped direct my path.
Most of our songs were just talking about what we had seen in the ghetto. We weren't thinking, 'Oh, this is going to be large and we'll have gold records.' We were thinking it would be local and we'd make a couple of bucks.
I think suspense should be like any other color on a writer's palette. I suppose I'm in the minority but I think it's crazy for 'literary fiction' to divorce itself from stories that are suspenseful, and assign anything with cops or spies or criminals to some genre ghetto.
The ghetto music of my era is hip-hop. And Parliament, and Curtis Mayfield, and Marvin Gaye, that was all the ghetto stuff when I was a baby, and then when I was a teenager it was hip-hop and we were taking all those old '70s sounds and recreating them and putting them into a hip-hop format.