I did see [in Afghanistan] plenty that reminded me of my childhood. I recognised my old neighbourhood, saw my old school, streets where I had played with my brother and cousins.

The images [of The Kite Runner grafic] were created in Fabio Celoni's mind. I chose to let him take the lead. Fabio and I did exchange an e-mail or two, but it was my intention to step out of the way and let his artistic instincts take over.

Baba dropped the stack of food stamps on her desk. "Thank you but I don't want," Baba said. "I work always. In Afghanistan I work, in America I work. Thank you very much, Mrs. Dobbins, but I don't like it free money."...Baba walked out of the welfare office like a man cured of a tumor.

You have think tanks like the widely respected Atlantic Council that have published reports in the past year that have called Afghanistan a failing state.

But better to get hurt by the truth than comforted with a lie.

When I went to Afghanistan in 2003, I walked into a war zone. Entire neighborhoods had been demolished. There were an overwhelming number of widows and orphans and people who had been physically and emotionally damaged; every 10-year-old kid on the street knew how to dismantle a Kalashnikov in under a minute. I would flip through math textbooks intended for third grade, fourth grade, and they would include word problems such as, "If you have 100 grenades and 20 mujahideen, how many grenades per mujahideen do you get?" War has infiltrated every facet of life.

[Kite Runner and A Thousand Splendid Suns] is not just unique to books, but films and music.