Academic writing you have to get right. Fiction you have to get plausible. And there's a world of difference.

In a couple of Ahdaf Soueif's novels, she gets at the certain kind of English that's being spoken by Egyptians. It's a beautiful, expressive English but it is non-standard, "broken" English that happens to be efficient, eloquent, and communicates perfectly well even if it is breaking rules.

When you're writing your own fiction, you don't have to ride two horses.

So you have in Iraq some people falling prey to the system, some people managing to negotiate independence, and other people becoming outlaws, and being imprisoned and dying. You have all sorts. I don't know any other society where poetry has such a place.

It does not take much to imagine the humanity of people you don't know.

With Ibrahim al-Koni, what I figured out was - and you'll see this in his novels - if your time is limited, make the unit of the chapters small so that you can finish one a day, at least in the first draft. Once you have the first draft it's living, and you can coax it to grow and trim it and reshape it and so on. But get that first draft. I think if I'd gone to an MFA program and learned that, it would have been money well spent. But translation has been that for me.

There was this very deliberate move to just overlay an American reality in Iraq. I've never actually seen the map, but apparently Americans thought the names of places were just too complicated so they got decent maps of Baghdad and just renamed everything with familiar names. This neighborhood would be Hollywood, that neighborhood would be Manhattan, and that one's Madison, you're going to drive down Oak and take a left on Main Street.