Just as certain Cold War binaries were collapsing, new binaries of Sunni versus Shia or Arab versus Kurd were being created by the new occupation force. It's the corruption of that moment that I am really interested in.

The stories that confirm that bigger story are brought in and easily digested. But there's another set of stories that are always there, which do not confirm, but which complicate and contradict what we think we already know. And I'm always attracted to that. There doesn't seem to be much of a market for it. Translated books rarely get reviewed in the press. Books or poems or works of art that don't seem to have a corresponding style or figure or theme, obviously they're hard to digest.

In translation studies we talk about domestication - translation styles that make something familiar - or estrangement - translation styles that make something radically different. I use a lot of both in my translation, and modernism does both. For instance, if you look at the way James Joyce presents Ulysses, is that domesticating a classic? Think of it as an experiment in relation to a well-known text in another language.

The truly astounding thing is the Baathist regime supports poetry like nobody else, probably in the world.

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.

There were illegal poets like Muzaffar al-Nawab, this is the thing - Muzaffar was widely known and he didn't really have books. He would deliver these readings on cassette tape. Go on YouTube and listen to him. He's like a preacher. He's a really interesting figure in modern Iraqi life.