Right now I'm as close to happy as I can be without a husband to love, I started to work on this book… — Nina Simone

What kept me sane was knowing that things would change, and it was a question of keeping myself together until they did.

As I became more knowledgeable I came to my own conclusions about separatism. In the white man's world the black man would always lose out, so the idea of a separate black nation, whether it was in America or in Africa, made sense. But I didn't believe that there was any basic difference between the races - whoever is on top uses whatever means they can to keep the other down, and if black America was on top they'd use race as a way of oppressing whites in exactly the way they themselves were oppressed. Anyone who has power only has it at the expense of someone else and to take that power away from them you have to use force, because they'll never give it up from choice. That is what I came to believe, and it was a big step forward in my political thinking because I realized that what we were really fighting for was the creation of a new society. When I had started out in the movement all I wanted were my rights under the Constitution, but the more I thought about it the more I realized that no matter what the President or the Supreme Court might say, the only way we could get true equality was if America changed completely, top to bottom. And this change had to start with my own people, with black revolution.

It was at this time, in the mid-sixties, that I first began to feel the power and spirituality I could connect with when I played in front of an audience. I'd been performing for ten years, but it was only at this time that I felt a kind of state of grace come upon me on those occasions when everything fell into place. At such times I would give a concert that everyone who witnessed it would remember for years, and they would go home afterwards knowing that something very special had happened. Those moments are very difficult for a performer to explain. It's like being transported in church; something descends upon you and you are gone, taken away by a spirit that is outside of you...That's what I learned about performing - that it was real, and I had the ability to make people feel on a deep level. It's difficult to describe because it's not something you can analyse; to get near what it's about you have to play it. And when you've caught it, when you've got the audience hooked, you always know because it's like electricity hanging in the air. I began to feel it happening and it seemed to me like mass hypnosis - like I was hypnotizing an entire audience to feel a certain way. I was the toreador mesmerizing this bull and I could turn around and walk away, turning my back on this huge animal which I knew would do nothing because I had it under my complete control. And, like they did with the toreadors, people came to see me because they knew I was playing close to the edge and one day I might fail. This was how I got my reputation as a live performer, because I went out from the mid-sixties onwards determined to get every audience to enjoy my concerts the way I wanted them to, and if they resisted at first I had all the tricks to bewitch them with.