I’m the most proud when I get something from cities, or people. At first I was against awards, you know. I would always say, “This is so fake. The people who vote on this stuff, they never listen to the music.” But for me it’s when I received awards or something from the city. Just to go to somebody’s house and eat. Or people come and say, “We spent our anniversary checking you out,” or “We were making love to one of your records, and we had a child!” See that kind of stuff makes me feel good. Like you get a key to the city and the people are really into it. Not just, “Oh, let’s give him the key to the city because he got some publicity.” It will be some people you knew, and you were there at their school, and you worked in the community.

I have never really studied them very much. I think that I was proud of — not just what I did — but my staff played obviously a major part, did in popularizing the sport, with the early promotional activities of NFL Properties, merchandising, NFL Films, all the work that we put on the Super Bowl to make that a top attraction. All those things, I feel very good about, but I think they played a big part in popularizing the league.

Yes, exactly. The collective isn’t active anymore, but at the time, as black female artists, and also as students, we didn’t feel particularly acknowledged or seen as significant. So we thought, if we see each other, everyone else will be forced to see us, too. I felt so proud to be a part of something like that, and seeing the results that came from it.

The progress we’ve made at home. For example, our debt issue. We inherited a 3.7 billion debt for our population and our export earnings. Today a majority of that debt has been cancelled and we’ve completed our first program with the IMF (International Monetary Fund). And also the restoration of hope. Today, you know, our image of being a pariah state, a failed state, has turned around completely. Whereas people — Liberians — were afraid to carry a Liberian passport, because you’d be seen as this nation of death and destruction. Today, Liberians are very proud to carry their passport because everybody sees Liberia as beginning to be uplifted and beginning to become a possible model of success, a post-conflict success story. I’m very proud of that turnaround in our image.

I want my readers to laugh sometimes. Many readers in Japan read my books on the train while commuting. The average salaryman spends two hours a day commuting and he spends those hours reading. That’s why my big books are printed in two volumes: They would be too heavy in one. Some people write me letters, complaining that they laugh when they read my books on the train! It’s very embarrassing for them. Those are the letters I like most. I know they are laughing, reading my books; that’s good. I like to make people laugh every ten pages.

I myself, as I’m writing, don’t know who did it. The readers and I are on the same ground. When I start to write a story, I don’t know the conclusion at all and I don’t know what’s going to happen next. If there is a murder case as the first thing, I don’t know who the killer is. I write the book because I would like to find out. If I know who the killer is, there’s no purpose to writing the story.

When I’m in writing mode for a novel, I get up at four a.m. and work for five to six hours. In the afternoon, I run for ten kilometers or swim for fifteen hundred meters (or do both), then I read a bit and listen to some music. I go to bed at nine p.m. I keep to this routine every day without variation. The repetition itself becomes the important thing; it’s a form of mesmerism. I mesmerize myself to reach a deeper state of mind. But to hold to such repetition for so long—six months to a year—requires a good amount of mental and physical strength. In that sense, writing a long novel is like survival training. Physical strength is as necessary as artistic sensitivity.