Every step was a victory. He had to remember that.

My theory for nonfiction is that nobody can be free of some kind of conceptions about whatever story they're writing. But if you can find a way to build those into the story, then the story becomes a process of deconstructing and heightening and sometimes changing those notions and that makes dramatic tension. The initial statement of your position, and then letting reality act on you to change it, is pretty good storytelling.

I know this will sound naïve, but I often wonder what America would be like if our national ethos was simply to minimize suffering. Period. To try, every day, to convert our wonderful wealth and national energy into the cessation of suffering wherever we find it. Imagine if that was our national mindset. Well, we can-we must-dream.

We have not been energetic enough - white people haven't - in pursuing racial equity.

I really wanted to be allowed to the [writer's] table. So it makes me happy to be at the table. It sounds a little shallow, but if I imagine the shadow life, where I didn't get that chance, and all the ways my negative inclinations would have bloomed if I hadn't gotten the attention, but also the creative outlet ... I'm not actually that happy. I have multiplicities. My happiness blooms and it wilts.

I've been reading about and writing about the Civil War period and it is so striking that slavery was never made right - [Abraham] Lincoln was killed, Reconstruction came along, and all of that inequity was frozen in place and carried forward rather smugly. So I think the burden is now upon us white people, to say that this systemic inequality offends us.

I see this quality [real interest and joy] in the work of [Pavel] Chekhov, of course, and [Alexei] Tolstoy and really just about any great writer.