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.

For whatever reason, people know that car crashes can happen but they don't live with that fear every day when they're driving, or they're able to overcome it.

I don't know what you can do if it's reported that there's been a small attack in the second- or third-largest city in country X that you have no connection to. I don't know what you're supposed to feel or how you're supposed to get into that.

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?

The problem of empathy is pretty universal, and pretty much breaks down across America. People can't feel beyond their drawn borders. And skin color and culture have a lot to do with that.

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.

It's rare that you get to read, let alone teach, an arbitrary canon of your choosing in a tight time setting, and I tore through a fairly wide range of Indian writers, some contemporary - like Arundhati Roy and Salman Rushdie - and others older, like R.K. Narayan. And I think what happened at that stage was that I was forced to take a position in my own writing style that was more fixed, as opposed to reading a book at a time and defining myself in opposition to or in awe of it.