“By the end of the first decade of writing, I considered myself a confirmed failure in the eyes of the world.”

From about the age of 15 or 16 I’d had the notion that I wanted to write fiction, and I’d done enough in college to satisfy myself that I had a knack for it – I wouldn’t call it “talent” – though I wondered if I’d ever have the guts to actually commit to it.

I got brilliant stories from people who’d never set foot in an MFA program and had published very little, and terrible stories from people who’d published a lot and had all the credentials. It was all over the map and that was part of the fun.

If you want to write, then write; if you don’t want to write, then don’t write. I fell into the former category, and I just made the decision that I’d keep on because I liked it and might someday do something decent.

At a certain point I decided to keep on because I felt like the work was getting better, and I was taking great pleasure in that.

I kept going back while I was writing the novel – which never sold, may it rest in peace – and by the time it was finished I had too many connections to Haiti to walk away.

Somewhere along the way America became a giant mall with a country attached.

Haiti is unique – the first successful slave revolt in history, the first black republic etc., and then when you get into the culture, the voodoo, and that wonderful synchretization of Christian and African belief and symbology, it’s like nothing the world has ever seen.

It’s amazing what happens when you stick yourself in a place and let things take their more or less natural course.

Eruptions of talent continue to happen in Haiti, in spite of everything.

The Kessler Theater is one such gem, an Art Deco beauty … for a slice of real life, there’s always the Kessler.

I really had to decide why I was writing. I had no interest in going back to law; I very briefly – for about six hours – considered going to get my MBA, but in the end, I realized that the only work I really wanted to do was write.

I started publishing stories in small magazines early on, but after seven or eight or nine years you feel like you need a little more than that to show for your efforts.

I think if you spend much time dwelling on influence you can get self-conscious about every line you write. That’s a great way to freeze up.

I thought when I started writing that I’d have a book out in four or five years, and as it became apparent that that wasn’t going to happen, I became increasingly frustrated and unsure of myself.

I realized I was never going to have any peace with myself unless I made an honest stab at trying to write.

Maybe the light’s at the other end of the tunnel.

The beauty in the losing is a loss finally of self-consciousness. There’s a gorgeous moment that can happen in all kinds of places. It can happen with people, it can happen with nature, and it can happen with my eyes shut anywhere I am.

It is far easier for the proverbial camel to pass through the needle’s eye, hump and all, than for an erstwhile colonial administration to give sound and honest counsel of a political nature to its liberated territory.

One cannot live with sighted eyes and feeling heart and not know and read of the miseries which affect the world.

Good fiction creates empathy. A novel takes you somewhere and asks you to look through the eyes of another person, to live another life.

I went to South Africa on safari and came eye to eye with a beautiful leopard. We were so close; I was staring at him for a long time and I felt a recognition with my own nature.

While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see.

I’ve looked that old scoundrel death in the eye many times but this time I think he has me on the ropes.

Nothing that isn’t a real crime makes a man appear so contemptible and little in the eyes of the world as inconsistency.