Sometimes I stumble upon a wonderfully irresistible to me voice, unexpectedly.

We come away from the tragedies of [William] Shakespeare with a profound sense of having encountered reality in its most pristine form - yet the art-work is elaborately artificial, the very genre of tragedy in poetry an anti-naturalist perspective.

I don't know what marriages are like in general, but there are many things which I don't talk about with my husband. We discuss practical problems, but I wouldn't sit down with him and talk about the distant past. It's somewhat in contrast to other Americans, who feel that they have to confess things, but I'm really not like that.

I've always been interested in writing about people, including young children who are not able to speak for themselves. As in my novel 'Black Water,' I provide a voice for someone who has died and can't speak for herself.

I see the world in ways that might be considered somewhat harsh and Darwinistic. At the same time mediated, as in Darwin, by a real idealism and an excitement about the possibilities of the intellect and imagination to deal with this somewhat brutal world.

Obviously, there is pleasure in the execution of any sort of art, and using language, as Nabokov felt also, is an exquisite process.

Ultimately, we measure ourselves against our own ideas of idealism and perfection, and we don't always come very close to them.