I think that America is such an incredibly dynamic place because of immigration. We fundamentally have been a culture that's been put together from the explosions of other cultures. But it's hard for us to see. We have blinded ourselves to the reality of what our country is.

When I was thinking about these women characters, no matter how bad a person I am - a bad writer, my limitations, my sexism, you know - the thought was, it would be useful as a writer to try to create a template for all the male writers, especially Dominican male writers, especially males of color, of how a writer can use seeing to create more nuanced representations of women.

In '94, I started writing a novel about an enormous terrorist act that destroyed the United States. The novel takes place twenty years after this destruction, with all the stuff that we're dealing with now - a dirty war, the disappeared, the concept of terrorism. Anyway, 9/11 happened some years into the process, and I was like, OK, I don't have a novel.

Sadness at being caught, at the incontrovertibe knowledge that she will never forgive you.

Part of it is eight years of a black president, and white America still lost their [minds] about that. Part of it is a Republican politics of vicious, vicious partisan [stuff] that has completely poisoned what we would call the political rhetorical sphere. All of these things come together in a perfect storm.

A form wherein we can enjoy simultaneously what is best in both the novel and the short story form. My plan was to create a book that affords readers some of the novel's long-form pleasures but that also contains the short story's ability to capture what is so difficult about being human - the brevity of our moments, their cruel irrevocability.

You whispered my full name and we fell asleep in each other's arms and I remember how the next morning you were gone, completely gone, and nothing in my bed or the house could have proven otherwise.