We are always boosting or trying to prop up the ego by fulfilling some desire or other, and always craving affirmation from the outside.

When I moved to London in the 1990s, it had changed a great deal. Racism had become deeply uncool. But there has been a return of racism in the guise of "antiterrorism." People who look like myself are immediately suspect. I've become extremely self-conscious about going into crowded public places.

Western conception of history has had great consequences over the last two hundred years. You see it in the invasion of Iraq. You see it in almost everything that is said and done.

Most books germinate within you for a long time before they are ready to come out. I wrote several drafts of the novel over many years and when I finally got to the last one, it didn't take much time.

We need a more complex understanding of writers working under authoritarian or repressive regimes. Something to replace this simpleminded, Cold War-ish equation in which the dissident in exile is seen as a bold figure, and those who choose to work with restrictions on their freedom are considered patsies for repressive governments. Let's not forget that most writers in history have lived under nondemocratic regimes: Shakespeare, Tolstoy, and Goethe didn't actually enjoy constitutionally guaranteed rights to freedom of speech.

Buddhism resonated very powerfully with a lot of my preoccupations.

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.