I believe artists should be able to step into other people's situations, contexts and cultures and work from there. If artists don't have that freedom, then, as someone has said, are we all writing our autobiographies?

After the phone call from The New Yorker, I walked more than a mile to church to thank God. But then I told God I would talk to Him another time and darted home.

I have been very afraid of writing about other cultures and countries. I've been worried about getting the research wrong. I ask a lot of questions. I try to visit the area. If I'm not able to do that, I search out people from that country who live elsewhere and ask questions.

For me, as I've said many times, the story is not research. The story is how the characters relate with each other and with the environment... I try to apply my imagination to what could have happened and how a little child could have viewed and processed the event.

I'm happy if my book makes you want to kiss your family... if we can reconcile with each other no matter where we are on the globe.

I believe artists should be able to step into other people's situations, contexts and cultures and work from there. If artists don't have that freedom, then, as someone has said, are we all writing our autobiographies?

I don't believe in the art-for-art's-sake philosophy. With the raw material before me and the gifts within me, I did my best to celebrate the voices and intelligence and sweetness and dreams of the children in spite of their chaotic, outer worlds.