Fiction and essays can create empathy for the theoretical stranger.

Southern Appalachians have been ridiculed since the country began. In fiction, they're usually depicted in a cartoonish manner. The region is poor, and very suspicious of outsiders, so there's a sort of 'us versus them' situation. They're easy to poke fun at.

Poetry feels like a country I visit without a passport, where I look around furtively, grab hold of something precious, and try to smuggle it back across the border. Any poem I get written down feels like contraband to me.

In Kilanga, people knew nothing of things they might have had - a Frigidaire? a washer-dryer combination? Really, they'd sooner imagine a tree that could pull up its feet and go bake bread. It didn't occur to them to feel sorry for themselves.

If my setting is new to a reader, or the concerns of the novel are new, I hope they will learn something about the world. I would like to say that they can trust that what they do learn in the novel will be accurate, because I pay a lot of attention to facts. I do a lot of research to make sure that I'm not giving them, you know, blue moons of Jupiter. It's not science fiction.

I love developing children as characters. Children rarely have important roles in literary fiction - they are usually defined as cute or precious, or they create a plot by being kidnapped or dying.

(on asparagus) Europeans of the Renaissance swore by it as an aphrodisiac, and the church banned it from nunneries.