In Bulgarian I am much more flowery, the sentences are wilder. In English out of necessity I try to be clear and disciplined. I realized by writing in English there is so much more to writing a good story than the style.

That's one of the things I wanted to explore, the idea that I don't agree with one bit, that to be Bulgarian is to be Christian and if you're Muslim you're a Turk. It's that sort of line of reasoning that's causing a lot of trouble. Because what does religion really have to do with anything? It's just a bizarre question.

In certain places, not always, there are moments where I tried to convey in English a sense of foreignness. I wanted the reader to get the sense that another language is being spoken.

All these wars, all these territories. For example, Macedonia is a disputed territory, and there are people directly to the west of Bulgaria who are in Serbia now because of where they lived when the borders were drawn but who are Bulgarian. It makes the Balkans an insanely interesting place to explore.

Quiet, moving, masterfully crafted. Such are the nine stories in Venus in the Afternoon. Tehila Lieberman writes with precision, restraint, with a compassionate heart. She inhabits her characters, young or old, men or women, honestly, but without judgment, until they rise off the page and stand before us breathing and alive. New York, the Atacama desert, Amsterdam or Cuzco in Peru, the settings in Venus in the Afternoon are just as varied as the lives which they contain. A wonderful collection, one that will stay in your mind long after you have bid it goodbye.

I don't find English restrictive, but it brings a level of discipline to my writing that I wouldn't have in Bulgarian. My control of English, however you define it, my ability to work in English, is more limited than in Bulgarian. That means out of necessity I have to develop a style that goes for clarity of expression which I may not have done otherwise.

What's great about symbols, what a writer can do with them is provide a really vivid, interesting image, and the reader will do the rest of the work. That's always been very interesting to me. Like if I just introduce the storks, I don't have to say what they mean because the reader will do that. And if I bring in the dark history of the region, other trends come up, for example how in ancient Egypt they are associated with the souls of the dead. You can surprise yourself by introducing an image and then see how developing the story fills it with meaning that is suddenly new.