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.

When you're writing non-fiction, you go as far as you can go, and then ethically you have to stop. You can't go. You can't suppose. You can't imagine. And I think there's something in human nature that wants to finish the story.

It is natural to want to forget, Anna, when everyday is a brimful of sadness. But those souls also forgot those that they had loved. You do not want that, surely? I have heard some preach that God wants us to forget the dead, but I cannot believe so. I think He gives us precious recollections so that we may not be parted entirely from those He has given us to love. You must cherish your memories of your babes, Anna, until you see them again in Heaven.

I think that you can honour the sacrifices of a common soldier without glorifying war.

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.

And one of the things that I learned was you can't generalise at all about a woman in a veil. You can't think you know her story, because she will confound you over and over again. She may be an engineer or a diplomat or a doctor. Or she may be an unbelievable babe with bleached hair down to her waist.

Book burnings. Always the forerunners. Heralds of the stake, the ovens, the mass graves.