terrorism is interesting to a novelist because it's a crime that's driven by an idea, as opposed to some kind of base materialist impulse. It's not like stealing from someone's house, or even assassinating someone. There are very complex ideological reasons behind these almost abstract acts of violence.

I think I know a lot of fake two-faced Ivy League liberals, and I am constantly testing them to see if their liberalism is a conversational liberalism, one that depends solely on what will fly at a party. And I can tell when stuff like this happens, I swear to God, they are tomorrow's conservatives.

I think Indians will pick up on a lot of the direct commentary on Delhi, which Americans will obviously miss, while Americans might get more out of watching pop-culture play out in unusual ways in a foreign country. Who knows?

I also think that there's something about the graphic, political nature of such attacks, mixed with the fact that it all seems completely random to the victims.

When a bomb actually goes off, there's a lot of confusion, and people often don't know a bomb has gone off. For a long time, people might think there's been an electrical malfunction or something else that's exploded.

There's this great fashion among writers, especially those who follow the transnational conservatives like V.S. Naipaul, to disavow one's place in the world as a sort of box that has sprung you but is only worthy of your scorn, because it once contained you. And I've been tempted to say foolish things, like "I am an American writer" or "I belong nowhere," but the truth is I'm perfectly proud of identifying as an Indian writer, even if that might hurt my bottom line.

terrorism is interesting to a novelist because it's a crime that's driven by an idea, as opposed to some kind of base materialist impulse. It's not like stealing from someone's house, or even assassinating someone. There are very complex ideological reasons behind these almost abstract acts of violence.