I’ll revise a poem if I’m not happy with it, just to get it to a point where I’m like, “Well, I guess this will do.” But I always feel like the best poems come out almost exactly right the first time. The kinds of poems that I do more slowly and revise more, they never feel completely finished. I actually feel the same about essays. I really like to write essays all at once. Then I’m only really making small edits from there. I’ll just think about them for so long that I feel like, “Okay, now I know exactly how to write this”.

It was a huge challenge going from the first draft to the second. From what you said earlier I suspect that you and I might write pretty differently. For me, the first draft is usually the heart of the book; its where I think I do my most vital writing and, if it’s not alive and working in the big ways by the time I’m done, I rarely make it to a second draft. Usually, then, the second draft doesn’t alter the overarching shape of the thing too substantially; it’s about filling holes, fixing problems, re-seeing stuff that’s not working, but all in the service of letting the fresh and newborn first draft reach its potential. Sometimes that takes many, many drafts. It’s very laborious and difficult and extremely important work—don’t get me wrong—but it’s usually not what I consider the heart of thing.

First of all, you can correct mistakes much more easily. One sweep of the palette-knife 'lifts' the blood and tears of a morning from the canvas and enables a fresh start to be made; indeed the canvas is all the better for past impressions.

I just write whatever comes to mind, and I tell myself that nobody is going to see this. Just get it all down. That first draft that I did in six weeks, I wouldn’t even call that a first draft. I would call it the ugly draft, the draft that you arrive at before you call it a first draft. And everything is wrong with it. There’s no clear idea of voice or character. I’m just in there trying to find the feeling, like what do I want this work to feel like when I get it done? And to see the material that I’m interested in.

I had really good teachers in high school. Probably I connected the best with an English teacher that I had my junior year in high school, Miss Sanchez, Jan Sanchez — God bless her. I’m still in touch with her, had lunch a couple of years ago, and we email each other and still exchange, recommend books to each other: “What novel are you reading lately? I read this book — you want to read this.” That kind of thing. But she really was the first time — I remember it was in her class that I read The Grapes of Wrath , which was the first time I had read a novel in English where I felt like I got it at the time. I had the, I felt really connected to the writer and to the story. I told her how much I loved that book and what it meant to me, and I think I saw part of my own family, and a lot of the Afghans in that story — people who would, they become uprooted and homeless and kind of drifting around trying to find a new home. So Jan Sanchez was probably my favorite teacher in high school, and although I never shared with her any of my writing, she came to one of my book readings as a surprise. I hadn’t seen her in over two decades, and she showed up, and she goes, “Remember me?” Obviously, I knew immediately who she was, and it made me so proud that she had read my book and she had loved it. I felt like I had done good. You know, when your teacher comes up to you, even if you are middle-aged and have your own family, having your teacher come up to you and pat you on the back is still a pretty special feeling.