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.

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.

I don't think sexual repression leads to violence, but I can see the situation where you're trying very hard to be very religious and to be good but pornography exerts a strong force on you, and one way to get further away from it would be to immerse yourself in a strong religious system.

The feeling I got from my research is that the victims of bombings end up becoming as alienated from the government as the terrorists who cause the attacks.

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.

When I worked as an editor, I read new novels being published in India every few days. They excited me tremendously for the first fifty pages or so, and boasted some true linguistic genius at times, but none of those writers could occupy more than one mind at once.