I don't feel any great need to subscribe to a certain notion of Buddhism that says "You have to do this" or "You have to do that." Buddhism does not prescribe rituals or prohibitions in the way many religions do.

In America, you don't even have proper holidays. It's really one of the most prosperous slave societies in history. People work their asses off all year long and get two weeks off! It's incredible.

Freedom of speech doesn't guarantee great literature.

I wrote for many years without showing my writing to anyone, because I was constantly comparing it to what I was reading. You have to compare yourself to the best and feel totally inadequate.

In India, love often follows marriage. I know many people who are still very deeply in love with their wives, who they barely knew before they were married. In America there's this idea that "how could someone get married without being deeply in love with each other?" but in a lot of these cases feelings of love and affection actually grow after they've been legally and formally brought together.

I think a more complex idea of fiction - and the human self's relationship with the world - emerges when we abandon this philistine equation between literature and liberalism and human goodness, and pay some attention to the darker, ambiguous, and often muddled energies and motivations that shape a work of art. If we do this, we can appreciate a writer like Céline or Gottfried Benn without worrying whether they conform to existing notions of political incorrectness.

We, especially those of us in depoliticized and pacified societies, need to cast a colder eye at our self-perceptions, now and in the past, as sentinels and embodiments of Enlightenment virtues of reason, dissent, and skepticism.