These days we're all hyper-aware of the canonical way in which stories are supposed to play out - people are taught all about three-act scripting and where to put the reversal and all of that - and I think we can do more interesting narratives.

In good novelistic fashion, the discovery I’ve made is that it’s complicated. I think that’s one of good things about exploring these questions in a non-polemic, fictional way: you get to feel out territory rather than take positions. Through writing this, I can understand the impulse to faith, how people make meaning, how people make community, without having to say, do this, don’t do that, or I believe, I don’t believe.

Critchley and Webster’s fierce, witty exploration of Hamlet makes most other writing about Shakespeare seem simpleminded.

Being in Harlem on the night of Barack Obama's election was extraordinary. It was the best street party I have ever gone to, and it felt like the period of American history which began with slavery had ended that evening.

I'm fascinated by the emergence of a global class. They're highly mobile; they reject the idea of place.

I realized I had a novel on my hands, but didn't know where it was going to go. So I thought, 'I'm going to do everything that you're not supposed to do when you plan a novel; I'm going to step back and let this thing take itself wherever it wants to go, and I'm not going to worry about how things connect until later on.

There are still some terrible cliches in the presentation of Indian fiction. The lotus flower. The hennaed hands. In mainland Europe, people still slap these images on my books and I go bananas.