It takes some courage to write fiction about politically controversial topics. The dread is you'll be labeled a political writer.

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.

Lies are infinite in number, and the truth so small and singular.

I don't *ever* write about real people. Art is supposed to be better than that. If you want a slice of life, look out the window.

Like Daniel she enteres the lions' den, but lacking Daniel's pure and unblemished soul, Ada is spiced with the flavors of vice that make for a tasty meal. Pure and unblemished souls must taste very bland, with an aftertaste of bitterness.

the novel is inherently a political instrument, regardless of its subject. It invites you - more than invites you, induces you - to live inside another person's skin. It creates empathy. And that's the antidote to bigotry. The novel doesn't just tell you about another life, which is what a newspaper would do. It makes you live another life, inhabit another perspective. And that's very important.

Those first few weeks are an unearthly season. From the outside you remain so ordinary, no one can tell from looking that you have experienced an earthquake of the soul. You've been torn asunder, invested with an ancient, incomprehensible magic. It's the one thing that we never quite get over: that we contain our own future.