We [me and husband ] had been learning about the Khazars, and I had read Michael Chabon's novel [Gentlemen of the Road] the year before, so all these things are kind of roiling around in my brain, and then I slipped on the ice and I broke my wrist, and it had to be surgically repaired.

It's always the case for writers that when there are limitations, you have the opportunity for your creativity really to blossom and to become deeper and fuller and to move in directions that you wouldn't have discovered on your own.

I think that novels are one of the best means that we have to communicate both with the past and with the future.

Teaching is enormously satisfying because I'm constantly learning more. Just constantly being exposed to new voices and new life experiences and new worldviews and new structural dilemmas and new characters - it's really exciting for me.

Trying to talk through and figure out new answers really helps me figure out more about what I'm doing - and what we're all doing.

Historical fiction is a collaboration between the time in which it's written and the time that it's writing about and the far future, when we don't know what people are going to think about yet.

[Michael] Chabon, who is himself a brash and playful and ebullient genre-bender, writes about how our idea of what constitutes literary fiction is a very narrow idea that, world-historically, evolved over the last sixty or seventy years or so - that until the rise of that kind of third-person-limited, middle-aged-white-guy-experiencing-enlightenment story as in some way the epitome of literary fiction - before that all kinds of crazy things that we would now define as belonging to genre were part of the literary canon.