If you encounter a human shadow burned permanently into the concrete in Hiroshima, you realize that this is the trace of a very ordinary person now elevated into the emblematic. Time, shame, complicity, or discomfort are the only things that make us pretend History is impersonal or far removed from the power and consequences of our every lived moment.

People think that writing is writing, but actually writing is editing. Otherwise, you're just taking notes

Fiction is risky for writers also in that the process of making certain books, of shaping certain narratives, leaves scars and marks on your inner life.

We are hunting the demons that haunt others. We get a smell and off we go. And you know why, Sunil? You know why we are so good at hunting the demons of others? Because we are so good, gifted even, at stalking and evading our own. But all demons hunters think that they are really heroes, and you know what all heroes need?

Unlike other books or TV shows or sometimes life, my narrative worlds are stripped of implicit moral centers. There is only what you bring. That makes the characters risky in every way and the narrative, a journey of change for the reader. But I make the journey as fun as I can.

What I've come to learn is that the world is never saved in grand messianic gestures, but in the simple accumulation of gentle, soft, almost invisible acts of compassion.

Much of the image of the amazingness of America comes from the movies into other cultures. And it's much the same thing when you reverse it. Much of Africa is presented through poverty, through drought and war. [But] you're not presenting people, you're not presenting countries, you're not presenting complexity, and so people can't care about an amorphous mass called Africa.