Fiction just has a lot more room for ambivalence and internal conflict, contradiction, and for me that sums up so much of what people felt after 9/11 - confusion even. And I think that's hard to capture in journalism.

I read Claire Messud's 'The Emperor's Children,' I read Joseph O'Neill's 'Netherland' - but to me, they're not 9/11 novels. In 'The Emperor's Children,' 9/11 felt to me like a piece of the plot; the novel wasn't wrestling with what 9/11 meant. And 'Netherland' felt the same way. I liked both books a lot but I don't see them as 9/11 novels.

I found 'The Twin' sitting on a coffee table at a writers' colony in 2009. It carried praise from J.M. Coetzee. That seemed ample justification for using it to avoid my own writing. I finished it - weeping - a day later, and I've been puzzling over its powerful hold on me ever since.

Jealousy clings to love's underside like bats to a bridge.

[s]he was a compulsive pessimist, always looking for the soft brown spot in the fruit, pressing so hard she created it.

In Germany, you have a huge official memorial to the murdered Jews and then you have this artist who's been putting these stumbling blocks, these brass cobblestones, outside the houses Jews were taken away from. It's somewhat controversial and has met some resistance.

I wasn't sitting around years ago thinking I really want to write a novel.