Most people don't think about race as much as I do. They don't have to.

In my other books, things do happen, but they are kind of bookends to the real action, which for me was an exploration of consciousness. Not that I don't get into the consciousness of the people in 'The Surrendered,' but you could say there's not as much anxiety about it.

I think my parents recognised that I'd always wanted to be a writer, and so they didn't think that this was some idle, faddish wish on my part.

I don't feel uncomfortable in America, but every once in a while, I'm reminded that people don't see me the way I see me. It doesn't change my life, but it gives me a consciousness about it.

As for what's the most challenging aspect of teaching, it's convincing younger writers of the importance of reading widely and passionately.

It's hard to write a war story without thinking about the 'Iliad.' Because the 'Iliad' knows everything about war.