Q: You explain, "To hear tragic love as a story immediately suggests the existence of other stories and also the possibility of new stories." What is this new possibility? What comes next in relationships between men and women?

A: I think we are currently witnessing the endgame of patriarchy, which makes this a very volatile time and also one that calls for creativity. I remember looking at a front-page photograph of the millennial celebration at the United Nations; the heads of most countries were there and with the exception of two or three women, they were all older men. It was a very vivid reminder that we are still living in patriarchy, but there are also many signs of change. In the U.S., for example, most families no longer fit the model of the nuclear family; love relationships are taking a variety of forms. The workplace also is changing; corporations and organizations experimenting with non-hierarchical forms of leadership and management are discovering that these changes can heighten productivity. We know now that girls' education and women's literacy are among the best predictors of economic growth in developing countries as well as of population control. And while it is true that a disproportionate number of women are living in poverty and we continue to tolerate high levels of violence among men, it is also true that many constraints on relationships between men and women are being lifted as more women gain economic independence and more men realize the costs of adhering to traditional norms of masculinity.

What comes next for relationships between men and women? If we don't turn back from the changes initiated by the liberation movements of the mid-twentieth century, what comes next is the birth of pleasure. This is where the future lies. But it is important to say that by pleasure I don't mean titillation or hedonism as it's commonly understood; I mean our capacity for delight, for joy. Once feminism is understood not as a battle between the sexes but a move to free both women and men from constraints that have limited their capacity to love and live fully, it becomes clear that feminism is one of the great liberation movements in human history.

Q: You use many sources-from Freud, Michael Ondaatje, and Toni Morrison to dialogues of couples in crisis to ancient myths. How did you select these examples and was it difficult to bring them all together to tell one coherent story?

A: I cast a wide net, drawing in Anne Frank and Proust, Shakespeare and popular songs, Emily Dickinson and Arundhati Roy because I felt it was important to draw evidence from the stories of our culture. We are living the struggle between love and patriarchy in the novels we read and the dreams we dream as well as in our daily lives. I wanted to include writers living in different times and places, and I was particularly drawn to post-colonial writers who are chronicling the move out of colonization. Knowing what you know is a central theme in my book, and I chose to tell an ancient love story along with a range of contemporary love stories as a way of showing how widespread this knowing of love is and also for how long it has been in our midst.

In drawing from my research, I highlight moments that led me to new insights in an effort to make it clear how I came to see what I saw and also to give readers a chance to see for themselves. Where I include my own dreams and memories, it is because they served for me as a kind of epiphany-sudden moments of illumination that occurred in the course of this journey.

The challenge I faced in writing the book led me to create a form that could hold the sensations of love and pleasure and the associative nature of psychological discovery while also making clear the logic or connections that bring the various parts together to form a coherent whole. I often thought of orchestration where a composer uses different instruments to carry the parts of a piece and then explores and develops their relation to one another through counterpoint and harmony. I found it an exciting and difficult challenge, and the journey of writing this book became one of personal transformation, leading me away from the conventions of academic writing and into something that felt much freer and also more embracing of the story I set out to tell.

Q: Jane Fonda has recently given Harvard University the funds to launch the Harvard Center on Gender and Education in your honor. What sorts of plans are in the works for this center, and will you be involved in its development?

A: I admire Jane Fonda for her willingness to put herself on the line and devote her resources to what she believes in. Her generous gift will change the landscape of Harvard, and the plans for the new center are very exciting. The map of development I lay out in this book provides the inspiration for the Center. The initial project, led by Dr. Janie Ward, is an alliance with educators in elementary schools and high schools with the goal of addressing risks to children's resiliency that are associated with gender.

The Center will be international in scope, and as part of its mandate, the Graduate School of Education will collaborate with at least two other divisions of Harvard in undertaking joint research and scholarly projects. Jane Fonda's gift makes it possible to build on the gifts of four other women whose vision led to the creation of Harvard's first chair in Gender Studies. The program their generosity initiated will now grow considerably as a result of this new funding, bringing scholars from all over the world and supporting the work of research fellows and graduate students.

Personally, it is a great honor and deeply gratifying to me, in that work I started with my students at Harvard will continue and become a permanent part of the university's research and teaching mission. I have a great investment in the flourishing of this center. Jane knew of my plan to move to New York to become University Professor at NYU, and we agreed that my continuing involvement with the Center will take the form of serving as chair of the advisory committee.