In terms of the idea of long-term occupation - I have been reading a little bit more about this period - and you can see in that occupation are many lessons for the current occupation of Iraq. So we have these connections that go way back that people aren't aware of.

More and more people are able to access information - thank goodness we have the Internet and if you are interested you can find things. Which is different than even 20 years ago.

Sometimes we mask ourselves to further reveal ourselves, and it's always been connected to me with being a writer: We tell lies to tell a greater truth. The story is a mask; the characters you create are masks. That appeals to me. Aside from that, too, in the carnival the masks were beautiful, and offered a vision of Haitian creativity.

In terms of the idea of long-term occupation - I have been reading a little bit more about this period - and you can see in that occupation are many lessons for the current occupation of Iraq. So we have these connections that go way back that people aren't aware of.

These were our bedtime stories. Tales that haunted our parents and made them laugh at the same time. We never understood them until we were fully grown and they became our sole inheritance.

There are many possible interpretations of what it means to create dangerously, and Albert Camus, like the poet Osip Mandelstam, suggests that it is creating as a revolt against silence, creating when both the creation and the reception, the writing and the reading, are dangerous undertakings, disobedience to a directive.

I think novels just really show us the deepest parts of people's hearts, and you cannot walk away anymore and say, "I don't know."