I am a woman who is a granddaughter of a lady who used to be beaten on the head by her husband, of a mother who went through hell because she was divorced and had to bring up these kids. And I can take 10 men out to lunch and pay the bill, and nobody even thinks twice about it. So don’t mess with me.

If he touched her, he couldn't talk to her, if he loved her he couldn't leave, if he spoke he couldn't listen, if he fought he couldn't win.

Impelled by feelings that were primal yet paradoxically wholly impersonal. Feelings of contempt born of inchoate, unacknowledged fear--civilization's fear of nature, men's fear of women, power's fear of powerlessness. Man's subliminal urge to destroy what he could neither subdue nor deify.

The [Booker] prize was actually responsible in many ways for my political activism. I won this thing and I was suddenly the darling of the new emerging Indian middle class – they needed a princess. They had the wrong woman. I had this light shining on me at the time, and I knew that I had the stage to say something about what was happening in my country. What is exciting about what I have done since is that writing has become a weapon, some kind of ammunition.

It is after all so easy to shatter a story. To break a chain of thought. To ruin a fragment of a dream being carried around carefully like a piece of porcelain. To let it be, to travel with it, as Velutha did, is much the harder thing to do.

I don't think the state will allow people to occupy a particular space unless it feels that allowing that will end up in a kind of complacency, and the effectiveness and urgency of the protest will be lost.

The writer is the midwife of understanding.