SUSAN CHOI

I always try to avoid looking at the section where my books would be shelved, but I do know that my most reliable neighbor to the right is Kate Chopin's 'The Awakening', which is dispiriting. That's a book I don't want to re-read.

It's pathetic, but I don't really remember my first time reading 'The Great Gatsby.' I must have read it in high school. I'm pretty sure I remember it being assigned, and I generally did the reading. But I don't remember having a reaction to the book, even though I loved literature, and other works made a lasting impression on me at that age.

I've at times in my past been so unhappy, and thought, like, 'I would give anything for this not to be happening.' And, you know, as people say, time passes, and then you think, 'I'm kind of glad that happened to me.'

The most shocking act, closely examined, is just a louder version of some habitual gesture.

I stopped writing short fiction early on - I was never really good at it, and I never liked the results. So I stopped trying to fit the material I was working with into these tidy little short fiction packages.

I've never written a book with an outline or a predetermined theme. It's only in retrospect that themes or subjects become identifiable. That's the fun of it: discovering what's next. I'm often surprised by plot developments I would not have dreamed of starting out, but that, in the course of the writing, come to seem inevitable.

Graduate school is a really supportive environment, but in a way, it was only when that support vanished that I flourished.

I start with characters, and then I start writing, and then, if I'm lucky, things start to happen.

All sorts of creative communities are withering in New York because it's too hard to live here. It's ridiculous how expensive it is.

I was the daughter of an immigrant, raised to feel that I needed to get excellent, flawless grades and a full scholarship and a graduate degree and a good job - all the stepping stones to conventional success.

I've never written a book with an outline or a predetermined theme. It's only in retrospect that themes or subjects become identifiable. That's the fun of it: discovering what's next. I'm often surprised by plot developments I would not have dreamed of starting out, but that, in the course of the writing, come to seem inevitable.

I always try to avoid looking at the section where my books would be shelved, but I do know that my most reliable neighbor to the right is Kate Chopin's 'The Awakening', which is dispiriting. That's a book I don't want to re-read.

I've at times in my past been so unhappy, and thought, like, 'I would give anything for this not to be happening.' And, you know, as people say, time passes, and then you think, 'I'm kind of glad that happened to me.'

It's still funny for me to think of myself as someone who writes historical fiction because it seems like a really fusty, musty term, and yet it clearly applies.

Graduate school is a really supportive environment, but in a way, it was only when that support vanished that I flourished.

I stopped writing short fiction early on - I was never really good at it, and I never liked the results. So I stopped trying to fit the material I was working with into these tidy little short fiction packages.

I start with characters, and then I start writing, and then, if I'm lucky, things start to happen.

I was the daughter of an immigrant, raised to feel that I needed to get excellent, flawless grades and a full scholarship and a graduate degree and a good job - all the stepping stones to conventional success.

The complexity of the world is so overwhelming and so present to everyone.

It's pathetic, but I don't really remember my first time reading 'The Great Gatsby.' I must have read it in high school. I'm pretty sure I remember it being assigned, and I generally did the reading. But I don't remember having a reaction to the book, even though I loved literature, and other works made a lasting impression on me at that age.

If I'm not in the dead heat of working on something, I can end up spending tons and tons of time on the Web, and I hate it. I feel the same shame I did in grad school when I was pretty much addicted to reruns of 'Star Trek: The Next Generation'. I wish someone would make the Web just go away. Just remove it from the earth.

All sorts of creative communities are withering in New York because it's too hard to live here. It's ridiculous how expensive it is.

I think 'Gatsby' is hobbled, in part, by its status as a Great American Novel. People kind of roll their eyes before they've even opened it, treat it with a 'been there, done that' attitude. I know I did. It took me years to re-open the novel and see how much I'd missed.

Innocence as we understand it in our culture is very theatrical. The flip side is, if you're charming enough, you can get away with anything.

The most shocking act, closely examined, is just a louder version of some habitual gesture.