We are all refugees from our childhoods. And so we turn, among other things, to stories. To write a story, to read a story, is to be a refugee from the state of refugees. Writers and readers seek a solution to the problem that time passes, that those who have gone are gone and those who will go, which is to say every one of us, will go. For there was a moment when anything was possible. And there will be a moment when nothing is possible. But in between we can create.

Pakistan hasn't been cast in the role of... interesting cultural place or, you know, land of great comedians.

In some contexts in Pakistan maybe a beard is negative. It depends. And in some contexts in America maybe a beard is positive. I think there's certainly lots of hipster communities where having a beard makes me look a little bit less like a, you know, middle-aged fuddy-duddy. And there's some places in Pakistan where having a beard, you know, certain corporate contexts, certain social contexts, where it's not an advantage to have a beard.

In Italian, the word for novel is romanzo, "the romance." The English is "novel" - something new. Both of those elements, experimentation and love, are fundamental to the form.

What else is belief but direction?

I did not grow up in poverty. But I did grow up with a poor boy's sense of longing, in my case not for what my family had never had, but for what we had had and lost.

For if there were a list of cosmic things that unite us, reader and writer, visible as it scrolled up into the distance, like the introduction to some epic science-fiction film, then shining brightly on that list would be the fact that we exist in a financial universe that is subject to massive gravitational pulls from states. States tug at us. States bend us. And, tirelessly, states seek to determine our orbits.