Politically I also don't believe anymore that we can only have one voice to a story, it's like having one radio station to represent a country. You want the politics of any complicated situation to be complicated in a book of fiction or nonfiction.

As someone who writes novels that are often set in other periods of time or other ages or other landscapes, there's a certain element of research I have to do, and often, the more laconic people are, the more interesting they become.

when someone speaks he looks at a mouth, not eyes and their colors, which, it seems to him, will always alter depending on the light of a room, the minute of the day. Mouths reveal insecurity or smugness or any other point on the spectrum of character. For him they are the most intricate aspect of faces. He's never sure what an eye reveals. but he can read how mouths darken into callousness, suggest tenderness. One can often misjudge an eye from its reaction to a simple beam of sunlight.

Tell me, is it possible to love someone who is not as smart as you are? ...But isn't it important for you to think she is smarter than you in order to fall in love? ...Why is that? Because we want to know things, how the pieces fit. Talkers seduce, words direct us into corners. We want more than anything to grow and change. Brave new world.

He was a man who wrote, who interpreted the world. Wisdom grew out of being handed just the smallest sliver of emotion. A glance could lead to paragraphs of theory.

I believe in such cartography – to be marked by nature, not just label ourselves on a map like the names of rich men and women on buildings. We are communal histories, communal books. ... All I desired was to walk upon such an earth that had no maps.

It's a discovery of a story when I write a book, a case of inching ahead on each page and discovering what's beyond in the darkness, beyond where you're writing.