A good book is a good book, and there are a lot of different ways to approach writing or reading one.

Teaching is enormously satisfying because I'm constantly learning more. Just constantly being exposed to new voices and new life experiences and new worldviews and new structural dilemmas and new characters - it's really exciting for me.

It's always the case for writers that when there are limitations, you have the opportunity for your creativity really to blossom and to become deeper and fuller and to move in directions that you wouldn't have discovered on your own.

Time is finite and the demands of the imagination and also the demands of the world are infinite, so sort of brokering some kind of agreement between those things is a continual, and for me, and ever-changing challenge.

Trying to talk through and figure out new answers really helps me figure out more about what I'm doing - and what we're all doing.

A lot of people have come up after Brookland and asked, What happens to her at the end of the novel? and I will very politely say, well, here are the two possibilities.

The problems that other writers encounter are so fascinating to me as a writer and as a thinker about writing. I have found that many times, my students are experiencing problems that I myself have experienced in my work, but the solution is different because they're different people.

I think about the collaboration between writers and readers, but I also think about the collaboration between all the writers in a generation or in a country or across time contributing to this massive project of documenting and reimagining our world.

Nobody thinks that there were never mechanical horses in the world. Everybody knows that there aren't really golems.

I think that whether you've just begun writing or whether you've been writing for fifty years - I mean, I'm excited to get there and tell you about it when I do - I think that there's always the challenge of believing in yourself enough to get the work done and not being so taken with yourself that you're unwilling to continue to work on the work.

If I don't write every day for one week or even, frankly, one year, I don't really think too much about that.

I was working on the book, but in a very subterranean kind of a fashion. And I think that giving yourself permission to respect that, without being lazy and not doing work when you could be doing work and just don't feel like it - that's a different balance that can be complicated to strike.

I tend to think of writing as a more collaborative project than I think some people do.

I'm not for it [Brookland and The Testament of Yves Gundron ], I'm not against it, I'm just interested in it and how it functions, but I think that, in some senses, in those two novels, that was difficult for people to see.

As a Jewish thinker, I don't think of myself in relationship to the dominant culture's religion.

We [me and husband ] had been learning about the Khazars, and I had read Michael Chabon's novel [Gentlemen of the Road] the year before, so all these things are kind of roiling around in my brain, and then I slipped on the ice and I broke my wrist, and it had to be surgically repaired.

It would have been a hard year if I'd spent it berating myself for not working on the book.

Maybe one of the reasons that I don't ever experience myself as having writer's block is I don't feel that I need to be producing every minute of every day.

Historical fiction is a collaboration between the time in which it's written and the time that it's writing about and the far future, when we don't know what people are going to think about yet.