“To Parker Bright, Hannah Black, and other critics of this painting, I say this:
I completely reject your criticism. If only artists of the proper ethnicity can depict violence inflicted on their group, then only writers of the proper ethnicity can write about the same issues, and so on with all the arts. And what goes for ethnicity or race goes for gender: men cannot write about suffering inflicted on women, nor women about suffering inflicted on men. Gays cannot write about straight people and vice versa.
The fact is that we are all human, and we are all capable of sharing, as well as depicting, the pain and suffering of others. I will not allow you to fracture art and literature the way you have fractured politics. Yes, horrible injustices have been visited on minority groups, on women, on gays, and on other marginalized people, but to allow that injustice to be conveyed only by “properly ethnic or gendered artists” is to deny us our common humanity and deprive us of emotional solidarity. No group, whatever its pigmentation or chromosomal constitution, has the exclusive right to create art or literature about their own subgroup. To deny others that right is to censor them.
To those who say this painting has caused them “unnecessary hurt” because it is by a white artist about black pain, I say, “Your own pain about this artwork is gratuitous; I do not take it seriously. It’s the cry of a coddled child who simply wants attention.””

On why she revisits certain themes in “AN INTERVIEW WITH CELESTE NG, THE 2018 INDEPENDENT BOOKSTORE DAY AMBASSADOR” https://bookriot.com/2018/04/27/celeste-ng-interview/ in BookRiot (2018 Apr 27)

Interview, The Paris Review No. 80, Spring 2000 http://www.theparisreview.org/interviews/730/the-art-of-poetry-no-80-geoffrey-hill

Black Women Writers at Work (1983) by Claudia Tate

Preface to Lear (1972; London: Methuen, 1983) p. lvii

p. 12.
Source: Feminist Theory: From Margin to Center (1984), Chapter 1: Black Women: Shaping Feminist Theory, p. 13-14.
Context: Recent focus on the issue of racism has generated discourse but has had little impact on the behavior of white feminists towards black women. Often the white women who are busy publishing papers and books on "unlearning racism" remain patronizing and condescending when they relate to black women. This is not surprising given that frequently their discourse is aimed solely in the direction of a white audience and the focus solely on changing attitudes rather than addressing racism in a historical and political context. They make us the "objects" of their privileged discourse on race. As "objects," we remain unequals, inferiors. Even though they may be sincerely concerned about racism, their methodology suggests they are not yet free of the type of remain intact if they are to maintain their authoritative positions.
Context: Racist stereotypes of the strong, superhuman black woman are operative myths in the minds of many white women, allowing them to ignore the extent to which black women are likely to be victimized in this society and the role white women may play in the maintenance and perpetuation of that victimization.... By projecting onto black women a mythical power and strength, white women both promote a false image of themselves as powerless, passive victims and deflect attention away from their aggressiveness, their power, (however limited in a white supremacist, male-dominated state) their willingness to dominate and control others. These unacknowledged aspects of the social status of many white women prevent them from transcending racism and limit the scope of their understanding of women's overall social status in the United States. Privileged feminists have largely been unable to speak to, with, and for diverse groups of women because they either do not understand fully the inter-relatedness of sex, race, and focus on class and gender, they tend to dismiss race or they make a point of acknowledging that race is important and then proceed to offer an analysis in which race is not considered.

"Humane Literacy".
Language and Silence: Essays 1958-1966 (1967)

What I know about men, Morwenna Ferrier, Sunday September 7 2008, Sunday September 7 2008, The Observer http://www.guardian.co.uk/theobserver/2008/sep/07/women.relationships1,

Source: The Tales of Alvin Maker, Heartfire (1998), Chapter 2.

In an interview with Religion & Ethics Newsweekly http://www.pbs.org/wnet/religionandethics/2011/02/18/february-18-2011-ernest-gaines/8169/, February 18, 2011