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"When 'Midnight's Children' came out, people in the West tended to respond to the fantasy elements in the novel, to praise it in those terms. In India, people read it like a history book."
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"This philistinism of interpretation is more rife in literature than in any other art. For decades now, literary critics have understood it to be their task to translate the elements of the poem or play or novel or story into something else. Sometimes a writer will be so uneasy before the naked power of his art that he will install within the work itself - albeit with a little shyness, a touch of the good taste of irony - the clear and explicit interpretation of it. Thomas Mann is an example of such an overcooperative author. In the case of more stubborn authors, the critic is only too happy to perform the job."

"A book is as private and consensual as sex."

"For the narrative to exist, so that it could be read and reread even if I was taken away. Stories outlive their writers all the time. We know plenty about Goethe and Charles Dickens from what they chose to tell, even though they have been dead for years."

"I haven't stuck to any formula. Most great writers stick to the same style, but I wanted to be more various."

"I hold that a writer who does not passionately believe in the perfectibility of man has no dedication nor any membership in literature."

"I suppose all fictional characters, especially in adventure or heroic fiction, at the end of the day are our dreams about ourselves. And sometimes they can be really revealing."

"When you think about the period in which Agatha Christie's crime novels were written, they are actually quite edgy for the time."

"Good characters in fiction are the very devil. Not only because most authors have too little material to make them of, but because we as readers have a strong subconscious wish to find them incredible."

"Literature, the most seductive, the most deceiving, the most dangerous of professions."
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"Among the great struggles of man-good/evil, reason/unreason, etc.-there is also this mighty conflict between the fantasy of Home and the fantasy of Away, the dream of roots and the mirage of the journey."


"Go for broke. Always try and do too much. Dispense with safety nets. Take a deep breath before you begin talking. Aim for the stars. Keep grinning. Be bloody-minded. Argue with the world. And never forget that writing is as close as we get to keeping a hold on the thousand and one things--childhood, certainties, cities, doubts, dreams, instants, phrases, parents, loves--that go on slipping , like sand, through our fingers."


"The acceptance that all that is solid has melted into the air, that reality and morality are not givens but imperfect human constructs, is the point from which fiction begins."


"Symbolic value of the pickling process: all the six hundred million eggs which gave birth to the population of India could fit inside a single, standard-sized pickle-jar; six hundred million spermatozoa could be lifted on a single spoon. Every pickle-jar (you will forgive me if I become florid for a moment) contains, therefore, the most exalted of possibilities: the feasibility of the chutnification of history; the grand hope of the pickling of time!"


"Khattam-Shud,' he said slowly, 'is the Arch-Enemy of all Stories, even of language itself. He is the Prince of Silence and the Foe of Speech. And because everything ends, because dreams end, stories end, life ends, at the finish of everything we use his name. "It's finished," we tell one another, "it's over. Khattam-Shud: The End."


"Mahound comes to me for revelation, asking me to choose between monotheist and henotheist alternatives, and I'm just some idiot actor having a bhaenchud nightmare, what the fuck do I know, yaar, what to tell you, help. Help."
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