I try to be aware of what I'm concerned about, aware of how I feel about myself in the world, aware of how I feel about the issues of the day, but I guess I don't want to write essays in my head about my craft and maybe it's because I teach and talk about craft of other writers as a reader. I feel the moment I start doing that is when it's going to kill me.

The truth, finally, is who can tell it.

I try to be aware of what I'm concerned about, aware of how I feel about myself in the world, aware of how I feel about the issues of the day, but I guess I don't want to write essays in my head about my craft and maybe it's because I teach and talk about craft of other writers as a reader. I feel the moment I start doing that is when it's going to kill me.

I'd always wanted to write something about the Korean War because of my heritage. My father lost his brother during the war, and I fictionalized that episode, which was told to me very briefly without much detail.

Historical novels are about costumery. I think that's the magic and mystery of fiction. I don't want to write historical fiction but I do want the story to have the feel of history. There's a difference.

I'm more interested in the psychic intricacies that they build up and try to run away from, and how they self-construct. A lot of my work is about self-construction. Here, it's those folks who are deeply wounded and bewildered. They're not just victims of trauma; they've been shaken so forcefully that they don't quite know how or where to stand.

I wanted to present a sweep and scope of larger events, and a grander backdrop, but most important was to set against that a very singular, real and modest people struggling with every day and human struggles.