Though there might not be any easy answers to the problem of poverty, its most compelling scribes do not resign themselves to representation solely for the sake of those age-old verities of truth and beauty.

When people ask what kind of nonfiction I write, I say 'all kinds,' but really I mean I don’t write any kind at all: I’m trying to dissolve the borders between memoir and journalism and criticism by weaving them together.

Learning the edges or limits or sources of friction in empathy was one of the big issues for me.

Whatever we can’t hold, we hang on a hook that will hold it.

I'm happy not knowing. Most of the time (except when I'm a neurotic mess about uncertainty) I feel glad that the horizon is a mystery.

Imagining someone else's pain with too much surety can be as damaging as failing to imagine it.

Empathy is cloaked in our actions - as in, we might be experiencing empathy but not realize it's empathy.

Sometimes I do feel exposed. I have this kind of theory about different channels or levels of relaying experience - when I tell someone, one on one, in a personal context, about something that's happened to me - that has a very different valence, a different charge, than when/if I've said it in a public forum.

We think we should have to work in order to feel. We want to have our cake resist us and then we want to eat it, too.

I've been thinking so much about writing as a gift to readers - and how newness of subject (place or topic or person) is one of the biggest gifts at our disposal.

When bad things happened to other people, I imagined them happening to me. I didn’t know if this was empathy or theft.

Empathy isn’t just listening, it’s asking the questions whose answers need to be listened to. Empathy requires inquiry as much as imagination. Empathy requires knowing you know nothing. Empathy means acknowledging a horizon of context that extends perpetually beyond what you can see.

The publishing industry, unsurprisingly, is full of different people who love different things and express that love in different languages. Find the people, the editors and agents, with whom you share some language, and some sense of what makes literature worth reading.

I think of empathy as a set of cumulative effects, ideally - that it can be a force shaping your habits, shaping where you put your attention and then - if you're hard on yourself, in good ways - pushing you to translate that attention into action, on whatever scale.

After finishing a draft, no matter how rough, I almost always put it aside for a while. It doesn't matter if it's a story or a novel, I find that when it's still fresh in my mind I'm either thoroughly sick of its flaws or completely blind to them. Either way, I'm unable to make substantive edits of any value.

I've been lucky enough to work with extraordinary teachers along the way, and I'm excited to share what I've learned with graduate students at SNHU. I'm just as excited for what I'll learn from them.