The great thing about Cairo is the vast majority of women wear some kind of head scarf, but they are also very fashion-conscious. They love bright colors.

Being a Muslim in America, I've noticed that there's a ton of crossover between the Muslim community and geekdom.

'Butterfly Mosque' came out of the emails I wrote to family and friends back home after moving to Egypt.

I don't want to compare myself to somebody like Fitzgerald or Hemingway, but I feel like, for some writers, going to a certain city, a certain place, is what kickstarts your imaginative process.

I think every Muslim woman has to feel the world out for herself.

I think people, especially in the Muslim community, are rightly cautious any time you hear, 'Oh, there's going to be a Muslim character.'

I don't think there's something inherently irreligious about comics.

I didn't believe in spiritual homelands, and found God as readily in a strip mall as in a mosque.

When you write for a comic series, many superheroes have 60 or some years of history that you are coming into.

A lot of my writer friends - some of whom are brilliant - work when the Muse calls them, for lack of a better description. You know, days of nothing, then this creative burst where they write for 36 hours straight fueled by caffeine and idealism.

Real tolerance means respecting other people even when they baffle you and you have no idea why they think what they think.

To me, a staircase looks like a series of dark and light horizontal stripes, which is exactly how you'd draw a staircase. So I know how the image is going to look on the page.

Muslims are ordinary members of the working public, just like you.

To me, writing an ongoing series feels like driving a freight train downhill. All you can do is steer and pray.

I keep setting the bar higher for myself in terms of what I'm trying to accomplish.

Islam is antiauthoritarian, sex-positive monotheism.

Out-marriage is an issue religious groups have been wrestling with for some time. Of course men and women fall in love. Of course it's not always convenient to their respective cultural and spiritual norms.

I don't know that Islam has ever been a subject of anything that I've written. I think Muslims have often been, but those are two very different things.

If you love things or ideas or people that contradict each other, you have to be prepared to fight for every square inch of intellectual real estate you occupy.

In Arab Islamic society, it is traditionally taboo to criticize the lifestyle or personal philosophy of any practicing Muslim.

Thematically, in a lot of what I write, there's a sense of displacement, of being rooted in multiple places, and how that can tug at your identities and your wants and your goals.

For me, insomnia was something ordinary, and it came and went for ordinary reasons.

Anytime you're writing stories about a group of people with whom you have limited experience, there's a lot of guesswork.

It's very difficult to balance different audiences and talk to each one without selling the others short. There is no universal literature - or, if there is, I don't know how to write it.

So many people are of mixed heritage; everyone is from somewhere else.

I'm writing in English; I'm writing for a Western audience, but the people I'm surrounded by in my daily life are mostly non-white.

Americans look at the Middle East as a source of trauma because of 9/11. At the same time, I could see the fear going on in the Middle East as well - which would be the next country to be invaded or sanctioned? Being around those tensions was traumatic for me.

The story of a passionate woman in a stale marriage is as old as Helen of Troy.

Some languages expand not only your ability to speak to different people but what you're able to think.

The 'Ms. Marvel' mantle has passed to 'Kamala Khan,' a high school student from Jersey City who struggles to reconcile being an American teenager with the conservative customs of her Pakistani Muslim family.

I think that's a huge theme in superhero books across the board: When you have this massive power, how do you use it responsibly? When do you intervene? Those are the big questions.

The 'Islam vs. the West' dialogue ceased to be about real people a long time ago.

Leaving your country at a tender age really rearranges the way you perceive the world. So I feel marginally attached to many places rather than deeply attached to any one place.

My synesthesia is mostly gone - it was a much bigger factor when I was a kid. But having no depth perception is a bonus when you're trying to lay out flat images and describe them to an artist - flat is all I see.

The script for what would eventually become my first graphic novel, 'Cairo,' sort of came to me in kind of a bolt of lightning within 24 hours of having moved to that city. Just a jumble of characters and narratives and interesting things that I was seeing and experiencing for the first time.

The Qur'an is God's property, not mine.

When we read fiction, we want to get outside of ourselves and are able to see from a perspective we haven't seen through before. That can be very powerful.

The Qur'an is in many ways far less concrete than the Bible, relying on the esoteric more often than the apparent.

My career is a black comedy of sorts. I spent a lot of time explaining myself to various different groups. But more and more, I'm finding that the desire to communicate, which all these audiences share, is a powerful thing.

I'm not a programmer myself, but I am a very, very picky end user of technology. I like my machines to work they way they're supposed to, all the time.

I don't think being a writer who is religious means you have to write about nothing but religion. When I do write about religion, it's to inform the story, not to push a certain agenda.

I've wanted to write comics ever since I figured out it was a job.

Most people know Muslims in their community but don't realize it.

The road to democracy is rarely smooth, but for Egyptian women, it has been exceptionally bumpy.

Comic book readers tend to be pretty secular and anti-authoritarian; nothing is above satire in their eyes.

'Habibi' is a complex and unapologetic work of fantasy - no idle undertaking for readers of any faith or no faith at all, but one well worth the trouble.

We think of divinity as something infinitely big, but it is also infinitely small - the condensation of your breath on your palms, the ridges in your fingertips, the warm space between your shoulder and the shoulder next to you.

An ambitious, surreal tale of the love between a young Arab girl sold into marriage and the orphan boy she adopts, 'Habibi' spans multiple eras of conflict and change, stretching the lifetimes of its two protagonists over many centuries.

The transition between life in red-state America and life in the Arab capital was at times overwhelming because of the traditional segregation of men and women in many public and private settings.