Twilight suggests a blending or meshing of light and dark. Upon more careful consideration we can interpret this in the context of Anna Deavere Smith’s context as the representation of the blurring of racial lines; in essence people of all colors and races transcending these differences and coming together as one. Anna Deavere Smith’s intention in Twilight is to explore race relations on a grander scale as in her eyes, “Los Angeles shows us that the story of race in America is much bigger and more complex than a story of black and white”(xxi). She further complicates the issue of race in Los Angeles by highlighting that the Latino population was equally involved in the 1992 riots. This only serves to emphasize the intricate nature of the relationships between people of different ethnicities. Smith has enlisted the power of theatre to explore the underlying processes of the problem while simultaneously serving as her “call to community” (xxiv) to join her in this journey. On the other hand, Walter Mosley in the chapter “History” from his novel Always Outnumbered, Always Outgunned explores the transformative effect of the knowledge of his cultural history on the character Socrates Fortlow. Mosley suggests that the widespread ignorance of African American history has resulted in people like Socrates not knowing the history of his own roots. Only by knowing where he comes from can Socrates understand himself in a more profound manner. While Anna Deavere Smith attempts to use her artistic work as an argument for people to move beyond the superficial boundaries of race to become more multidimensional – an example is her one-woman theatrical impersonation of the diverse group of people whom she interviewed. Mosley by contrast employs Socrates Fortlow to call for a return to African American history and identity as the counter balance towards the effects of racism.