And when I'd be reporting in Israel, Palestinians would say, the Jews they're not like us, and the Jews would say the same things about the Palestinians, they don't want what we want. And I never bought it as a reporter and I don't buy it as a novelist. I think, you know, the sound of somebody crying for their lost child sounds the same.

When I write a word in English, a simple one, such as, say, 'chief,' I have unwittingly ushered a querulous horde into the room. The Roman legionary is there, shaking his 'cap,' or head, and Al Cap is there, slouching in his signature working man's headgear.

I was really interested in how marriages work, how you can, you know, be in love with somebody and spend many years with your lives intertwined, but in the end another soul can be fundamentally unknowable. And I think that the stress of war, when one party goes away and the other has to deal at home, is a really testing time in a lot of marriages.

I can always write. Sometimes, to be sure, what I write is crap, but it's words on the page and therefore it is something to work with.

Certainly I'm still mining my experiences as a journalist. I think it's no coincidence that all three of my novels basically are about how people act in a time of catastrophe. Do they go to their best self or their worst self?

I think probably the scaredest I've ever been was in Somalia. I arrived there when the episode that became known as 'Black Hawk Down' was still taking place. The Americans were still pinned down under fire. And everybody else was basically going the other way, and I was the only one putting my hand up for a flight in.

While I love to read contemporary fiction, I'm not drawn to writing it. Perhaps it's because the former journalist in me is too inhibited by the press of reality; when I think about writing of my own time I always think about nonfiction narratives. Or perhaps it's just that I find the present too confounding.