In many respects most of the books I write deal with well-known people. I think of those books as more about me than about those people.

My sense, and I'm sort of guessing, is that the journalists were being classified by the government as common criminals, and the political prisoners were so resistant to being that. Always keeping [the other prisoners] as murderers, thieves, that sort of thing, which has a certain irony to it, I guess. It's a curious thing.

If one is writing in a way that is questioning, or even raising questions about how we are supposed to negotiate the world - even if it is about the self, or love, or how human beings relate - I do think that has a certain subversiveness to it. Even if it's not on a geopolitical level.

The fact that my students could be in a little college in a little college town on the coast of Rhode Island, and be connecting in other countries with other people, did open them up and empower them and their sense of being. Whether it affected their writing, it's hard to tell.

I love factoids. It's hard for me to keep those out. It just takes realizing that it's stopping the character. Part of it is the decision to keep things where you want to train the spotlight. For me, it's the personal side. I always ask, How does the person inside the character relate to this?

I'm really sort of cautious about being too didactic. To me there are writers that can do that, but I think they drown in that after a while. I do think the job of a writer is to raise questions and nobody likes the questions being asked.

What really resonated with my students, I think, is that most of the writers we worked with were journalists, and when they saw journalists simply raising questions and being put in jail for that, it did freak them out a little bit.