I wanted my first novel to be a veritable infarct of narrative cloggers-the trick being to feel your way through each clog by blowing it up until its obstructiveness finally reveals not blank mass but unlooked-for seepage points of passage.

I woke up thinking a very pleasant thought. There is lots left in the world to read.

Of course, individuals are responsible for individual actions - the pilots who flew over Pearl Harbor and dropped bombs on those ships did a terrible thing as part of an attack on a military base.

There was a lot of maneuvering on the part of the Roosevelt administration to get the stars aligned so that that attack would happen. There's just no question about that; you don't even have to look at the decoding of diplomatic cables or anything else. FDR's own admiral thought it was a bad idea to have the fleet confined in one place way out in the middle of the Pacific.

History isn't a seesaw. If you have a really bad regime on one side, the actions on the other side don't automatically become good. It doesn't work that way.

I hadn't played any music since freshman year of college, more than thirty years ago, so I had to relearn everything. I started writing songs. Some were dance and trance songs (I listen to them a lot while I'm writing), and some were love songs, because that after all is what music is about - dancing and trancing and love and love's setbacks.

I wrote about World War II because I didn't understand it. I think that's the reason that historians are drawn to any subject - there's something about it that doesn't make sense. I wanted to work my way through what happened slowly, and look at everything in the order in which it took place.