Why is thinking about crime or imagining crime so goddamn central to pop culture? It doesn't matter whether it's American TV or British TV. And there's entire sections of bookstores devoted to crime.

We like to look out on the world and see ourselves, so we have many, many novels, memoirs, and short stories in Iraq that are largely about Americans in Iraq, doing what Americans do.

Noir is where the clarity of moral divisions break down, the black and whites turn into grays.

The more I've reflected on that and asked Iraqi friends, the more I realize that the corruption in Iraq has nothing to do with ideas - it has to do with the regime and institutional structures and power. There's no core to what Michel Aflaq has to say that results in this. That was a key to looking at Michel Aflaq as a sideshow. He's the intellectual father of an ideology that no one probably ever believed in. At that point I began to appreciate him in a funny way.

In translation you have to get it right, you have to be precise in what you're doing. You have to attempt what they did in that language - say, in Arabic - and try to accomplish a version of that in English, and you're constantly serving two masters.

I wrote Baghdad Central right after translating a great work by Ibrahim al-Koni, who is sort of a master of Arab fiction. In conversations with him I realized that translations have been my MFA program. If I have learned how to write fiction it's by working with great writers and getting them to explain their craft to me so that I can do it in English. That's how I've figured it out.

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.