Laila Lalami has fashioned an absorbing story of one of the first encounters between Spanish conquistadores and Native Americans, a frightening, brutal, and much-falsified history that here, in her brilliantly imagined fiction, is rewritten to give us something that feels very like the truth.

Literature is the one place in any society where, within the secrecy of our own heads, we can hear voices talking about everything in every possible way.

I've always prided myself on my discipline as a writer. I do it like a job. I get up in the morning and go to my desk.

If you want to tell the untold stories, if you want to give voice to the voiceless, you've got to find a language. Which goes for film as well as prose, for documentary as well as autobiography. Use the wrong language, and you're dumb and blind.

I have a general feeling that writers and artists who are in this peculiar situation, of being a persecuted artist, all anyone ever asks about is the persecution. It may well be that's the last thing in the world they want to talk about. There were many years in which every journalist in the world wanted to talk to me, but nobody wanted to talk to me about my work. That felt deeply frustrating because I felt there was an attempt to stifle me as an artist. The best revenge I could have was to write.

In Europe, the Enlightenment of the 18th century was seen as a battle against the desire of the Church to limit intellectual freedom, a battle against the Inquisition, a battle against religious censorship. And the victory of the Enlightenment in Europe was seen as pushing religion away from the center of power. In America, at the same time, the Enlightenment meant coming to a country where people were not going to persecute you by reason of your religion. So it meant a liberation into religion. In Europe, it was liberation out of religion.

Chekhov is this poet of melancholy and isolation and of wishing you were somewhere else than where you are.