I have two homes, like someone who leaves their hometown and/or parents and then establishes a life elsewhere. They might say that they're going home when they return to see old friends or parents, but then they go home as well when they go to where they live now. Sarajevo is home, Chicago is home.
I tend to wait for true stories to mature into fiction. Most of my fiction grew out of a long-germinating real-life situation.
I cannot stand that whole game of confession, that is: Here I have sinned, now I'm confessing my sins, and describing my path of sin and then in the act of confession I beg for your forgiveness and redemption.
In Bosnian, there's no distinction in literature between fiction and nonfiction; there's no word describing that.
For people who are displaced, you can reconstruct the story of your life from the objects you have access to, but if you don't have the objects then there are holes in your life. This is why people in Bosnia - if anyone was running back into a burning house, it was to salvage photos.
I've been a Nick Cave fan since the early '80s when he was part of The Birthday Party thing singing Australian self-destructive rock band and I've always followed his work and loved it.
I am a writer, which means I write stories, I write novels, and I would write poetry if I knew how to. I don't want to limit myself.
I cannot live or write without music. It stimulates the normally dormant parts of my brain that come in handy when constructing fiction.
I like to blur the line between fact and fiction, but not to condescend to the reader by enmeshing her/him into some sort of a postmodern coop.
I resist when someone calls me a novelist: it implies some kind of inherent superiority of the novel. I'm not a novelist, I'm a writer.
I'll take any life in which I can make choices and have agency, and America is not a bad place for all that.
New York is the Hollywood of the publishing industry, complete with stars, starlets, suicidal publishers/producers, intrigues, and a lot of money.