I think what's important and extraordinarily practical about Buddhism, is that it offers very concrete methods for people to work with.

The ’60s was the last time when large groups of people in the West searched for alternative modes of being. In a society like India’s, which is still not fully modern or totally organized, and has a great deal of tolerance for otherness in general, they find the cultural license to try other things, to be whatever they want to be.

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.

I found it really disturbing to see a novelist writing a diatribe about Islam and Muslim radical extremists, blurring the distinction between the two.

We have so few unaffiliated public intellectuals now - people who are not beholden to a think tank, corporate-owned media, or academic department - and even many literary writers look and behave like young urban professionals and canny careerists.

There are some serious limitations in Mo Yan's situation as a writer in China today - just as there are for Jia Zhangke, one of the world's greatest film directors. He can only phrase his dissent obliquely, in his art. Writers in "free" societies labor under no such constraints. They can write more or less whatever they want in both their fiction and their commentary. Yet so many of them look oddly inhibited, even timid, and depressingly a couple of prominent figures actually positioned themselves to the right of their governments, intelligence agencies, and corporations.

I think what's important and extraordinarily practical about Buddhism, is that it offers very concrete methods for people to work with.