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.

I've also never written about home in this way before. I guess a lot of it is subconscious and I am intuitively making these decisions when I'm writing. I wanted to communicate in the book that on one hand, being at home - both in our homes and in DeLisle - gives us a sense of belonging and family and safety, but at the same time, being in those places makes us less safe.

I think that voodoo as a spiritual tradition has been demonized for so long in popular culture. I wanted to write against that and write a character who practiced that spiritual tradition who was not evil and intent on creating zombies or causing pain through voodoo dolls or whatever.

I want each character to be as unique as possible. I want them to reflect something of who they are in the way that they move and in how their bodies work. That was foremost in my head when I was writing Salvage: I wanted every gesture, every little movement, to really carry meaning and communicate meaning to the reader. I was very conscious of that when I was writing.

I was thinking about the difference in voice between the different characters. Each voice has to be unique. Hypothetically you should be able to read each chapter without the heading that tells you who is telling the story.

I wrote poetry in middle school and high school and even through college. It was bad. I just don't think I'm very good at writing poetry. I mean, the distillation, I think, is hard for me, but I love poetry.

Grief doesn't fade. Grief scabs over like my scars and pulls into new, painful configurations as it knits. It hurts in new ways. We are never free from grief.