I grew up with some kind of storytelling instinct, and when I write, my default setting is to find a story and then to tell it. It's the only way I know how to write.

The Chinese say it's better to be deprived of food for three days than tea for one.

I came from an educated, upper middle-class family. My mother was a Persian and history teacher at a large high school for girls. Many of the women in my extended family and in our circle of friends were professionals. In those days, women were a vital part of the economy in Kabul. They worked as lawyers, physicians, college professors, etc., which makes the tragedy of how they were treated by the Taliban that much more painful.

The [George W.] Bush administration tripled its aid package to Afghanistan. [Hamid] Karzai finally (and courageously) announced that warlords will be forbidden from holding office in the future government. And finally, NATO agreed to expand the peacekeeping forces to troubled areas outside of Kabul.

The truth is that no one who hasn't actually experienced the senseless chaos and violence of combat can possibly understand it, but those who have and who try to explain it to the rest of us are offering us a precious gift: a part of their soul that's been scorched in the flames of Hell. It's a little like trying to describe music to the deaf or color to the blind ... to make the irrational somewhat sensible, which is always confusing and frustrating, and ultimately futile.

For courage, there must be something at stake. I come here with nothing to lose.

Was there happiness at the end [of the movie], they wanted to know. If someone were to ask me today whether the story of Hassan, Sohrab, and me ends with happiness, I wouldn't know what to say. Does anybody's? After all, life is not a Hindi movie. Zendagi migzara, Afghans like to say: Life goes on, undmindful of beginning, en, kamyab, nah-kam, crisis or catharsis, moving forward like a slow, dusty caravan of kochis.