Susanna Moore

On its 2015 list, the Fish and Wildlife Service included the 'ea, or hawksbill turtle, as well as the green turtle, Ridley sea turtle, leatherback turtle and loggerhead turtle. Four mammals are considered endangered: the Hawaiian hoary bat; the kohola, or humpback whale; the sperm whale; and the endemic Hawaiian monk seal.

The history of Hawaii may be seen as a story of arrivals.

'The Big Girls' has always seemed to me to be a story about different kinds of families - a divorced mother with a child; a father with his child and his girlfriend; a mother of three children, suffering from postpartum depression; and the rigid artificial families maintained by women in prison - all potentially perilous.

I have to admit that I was very happy to finish 'In the Cut,' and happy not to return to it.

While I was writing 'The Big Girls,' I had to take a big breath each morning and calm myself sufficiently to once again enter that world. But friends tell me that it is the only thing that really interests me. They say that I like to be upset.

The world of womens' prisons is indeed a microcosm.

When I was 23, I went to work for Jack Nicholson reading scripts. Later, I was married to a production designer named Richard Sylbert. So I lived in Los Angeles for ten years.

It is possible to say that all of my books concern themselves with the notion of what it means to be female - whether it is in New York City in 2000 or Calcutta in 1836. In that way, my books really are the same.

'Calcutta is a pot of honey' means that in the first half of the nineteenth century, before the society became truly Victorian in feeling and tone, Bengal was a place to make money. The governor-generals returned to England rich men. It was a bountiful, lush, prosperous, easy place to make a fortune - in coal, in jute, and particularly cloth.

I lived in Calcutta for five months in 1999. While I was there, I read many journals, diaries, collections of letters and histories.

'Forever Amber,' written by Kathleen Winsor in 1944, was banned in Boston at the time of its publication as obscene and offensive. This alone would have been enough to excite my interest, but in 1956, it was sitting inoffensively on the shelves of the small country library on the north shore of Oahu, Hawaii, where my family spent its summers.

The chance of any species reaching and then surviving on an island as distant as one of the Hawaiian chain is infinitesimal, but despite the extraordinary odds, plants and seeds found their way ashore, carried by the tide or blown by trade winds, inside birds or in their feathers, in the branches of trees and in the jetsam of sunken ships.

People will be able to survive, of course, without honeycreepers and monk seals. But if the wolf spider is in trouble, we are in trouble, too.

As a girl, I sat awestruck at the feet of Harriet Ne, author of 'Tales of Molokai'. It was she who used to say, 'I myself have seen it,' after telling a particularly hair-raising ghost story - a phrase that I borrowed for one of my titles.

When I was nine, I was taught to ride a surfboard in Waikiki by the beach boy Rabbit Kekai.

I was betting on cockfights in the Filipino workers' camps when I was 11.

Transgressive to me means breaking the rules and sinning. I don't see myself as breaking the rules and sinning. I'm really interested in what it means to be female.

'In the Cut' was not what readers expected of me. Before it was published, I was seen as a women's writer, which meant that I wrote movingly about flowers and children.

The point always is to be writing something - it leads to more writing.

Young writers reasonably say, 'I don't know what to write about,' so writing about yourself is a very literal way to begin.

Writing can't be taught.

Women are completely disadvantaged - despite what men will say. It is not a fair fight.

Each year, I await with dread the federal government's catalog of endangered and threatened species in the Hawaiian Islands, where I was raised and where I live.

The task of understanding the past is neverending.