What interests me when I'm writing is being able to crawl into a character's head and speak from his or her mouth. It's not pulling the strings on a marionette, it's not playing ventriloquist, and it's not mimicry. It's about inhabiting a character, and, at the same time, being totally unaware of what you've become.

The Israel Palestine thing, there are infinite sides to each side, but if we stick to the main sides, everybody's in the same boat and it's maddening to me for people not to understand what's in both their best interest.

You cannot learn to curse like an American.

The more foreign to me, to my existence, to your core existence, the more foreign the foreign language, it's really moving to me to think, to get to experience my own story crossing those boundaries. To have that experience that I so cherished as a reader. I can't believe this. To me, it's really nice because that would be a thing where I'm like, "There may be lots of Jews in my work. I'm not writing stories for Jews. I'm telling stories about people, and Jews are people, too."

You know, and I don't say this, I'll say as someone who lived in Israel for a long time, let me call myself someone who spent six or seven years in Jerusalem, we don't need any more Americans flying over to fix things. They need to fix it. I'm someone who fell in love with the city and fell in love with a place, and has high hopes for everyone there, the good people on both sides.

Harder than waking from a nightmare was trying to wake herself into one.

I have to work hard and wear pants. I've worked really hard these last years, and since everything is coming together at the same time, I had to move the play back. I'm kind of in love with my theater agent. I'm a true naïve about the theater, a total innocent. He says to me, have you ever been to a rehearsal room? Do you realize you are opening at the Public in New York? You do understand that the audience will be New York theater people?