Writing a novel, in an unplanned and unpredictable way, makes you engaged; it takes you into yourself, and it becomes something between you and the character for a moment, and then you move back into the structure of the book. I love those moments, because they are completely unbidden.

I believe I'm very conscious of exactly what I'm doing. I'm auditioning lines of dialogue, and I'm interrogating whether the lines would translate from Russian into English the right way. The English that results can perhaps seem somewhat more formal than colloquial, but not so formal as to feel academic.

If the fidelity [ in a book] isn't maintained, the reader will think your structure is extraneous, or superficial, or that you're trying to curry favor, or live up to the expectations of some sort of genre or structure.

Language is a personality as well. People are different when they speak different languages.

Here I am: a Russian-speaking Jew living in Canada, and you, an Indian ex-patriot living in San Francisco. All of a sudden we commune in this moment about a much older Russian political dissident.That's the human part of being human: feeling those moments.

In my experience of women, women have a greater capacity. Maybe women, even very pragmatic ones, are less guarded about showing emotions.

I think there are differences between men and women. There is more of a softness to women than there is to men, especially when it comes to those more intimate emotions: feeling love, feeling familial connections.