I wanted to tell them that, in Kabul, we snapped a tree branch and used it as a credit card. Hassan and I would take the wooden stick to the bread maker. He'd carve notches on our stick with his knife, one notch for each loaf of naan he'd pull for us from the tandoor's roaring flames. At the end of the month, my father paid him for the number of notches on the stick. That was it. No questions. No ID.

You don't have to donate money, it can be clothes, or books, or mediavl supplies. So there's so much that can be done [for refugees], the most difficult thing is that first step that decision to do something.

There isn't, even now, a great tradition of novel-writing in Afghanistan. Most of the literature is in the form of poetry.

I shook my head no. For minutes, neither of us spoke a word. It breathed between us, what he had said, the pain of a life suppressed, of happiness never to be.

It so happens that the major relationships in the novel [The Kite Runner] are between men, dictated not by any sort of prejudice or discomfort with female characters, but rather by the demands of the narrative.

America was different. America was a river, roarng along, unmindful of the past. I could wade into this river, let my sins drown to the bottom, let the waters carry me someplace far. Someplace with no ghosts, no memories, and no sins.

I've read that if an avalanche buries you and you're lying there underneath all that snow, you can't tell which way is up or down. You want to dig yourself out but pick the wrong way, and you dig yourself to your own demise.