When one is the type of writer who cares about the meaning of the historically specific setting, the history itself is not something that I would call backdrop. It's not window dressing for a timeless relationship about love and betrayal. For me, the setting and the specific history are active co-agents with me in trying to form the novel.

Happiness is a mysterious concept. It seems to work best as futurity: at that point I will be happy, et cetera. I feel like I experience small pieces of joy day to day.

I don't think of myself as a gearhead or a motorcyclist. I'm not that young, and this is like another life of mine. But the people I know from that era think of me that way.

For me, art is not 'brooding.' It comes from someplace that is more fun and that has a kind of electricity to it.

Some writers think that fiction is the space of great neutrality where all humans share the same concerns, and we are all alike. I don't think so. I'm interested in class warfare because I think it's real.

Danzon is my favorite Cuban music, played by a traditional string orchestra with flute and piano. It's very formally structured but romantic music, which derives from the French-Haitian contradance.

I think that when the social stakes for people are higher, how you present yourself may sometimes feel like it's going to inform your destiny. Because if other people regard you in a certain way, they'll want to help you, and you will end up having a career.

I try to show ugliness, but with compassion for the people who commit ugly acts.

I don't write listening to music, and in a way it seems silly that any writer should have to explain why not, as it's possibly no different from saying you don't eat gourmet dinners or play tennis while you're at the keyboard.