I feel like if you aren't honest and if you don't let go and ease up off of the narrator, then the story doesn't take up a life of its own, and the characters can't take up a life of their own. You handicap the story when you try to protect your characters.

In the past, I've felt like an outsider, with New York the center of everything literary, but right now, there are new opportunities being created that let us tell stories in the South, whether the medium is writing or TV or reality TV.

I wrote the first draft of my first novel at Michigan, and then I wrote the first draft of 'Salvage the Bones' at Stanford. So I workshopped the entire thing.

I'm writing about the things I see all around me. Growing up in Mississippi, I've seen how these backward ideas about class and race and healthcare and education and housing and racism impact everyday lives. For example, my mother wouldn't let me go to my homecoming dance because the yacht club where they were having the dance threw a fundraiser for David Duke, an ex-Klan member, when he was running for governor of Louisiana. So I grew up seeing how personal politics could be.

I think that we need to be more aware of how we are all interconnected, and how we actually need to invest in safety nets and in education, and that we need to come to the realization that health care is a human right and try to provide that for people.

Speaking specifically about the memoir, I know that's a criticism that people can have about my work. When I look at the young men's lives, if they're reduced to the worst thing they've done, then it's easy for them to become a stereotype. I keep running into that with newspaper articles that are very short.

My father owned pit bulls when I was young. He sometimes fought them. My brother and a lot of the men in my community owned pit bulls as well: sometimes they fought them for honor, never for money.