The act of writing should not be accompanied by the sense of an audience, someone peering over your shoulder, but in nonfiction I think it’s almost imperative that you identify an audience so you can confirm or challenge or undermine whatever ideas or prejudices they might have about your subject.

In the modern world, nationalism remains a very important force. We delude ourselves into thinking that globalization has made all of that redundant and that everyone just wants to be like America.

A sustained engagement with the world, a sense of how it was and how it ought to be, and what has been lost, is imperative to good writing - I just don't know how you can be a serious writer without it.

The American writer is a very pampered figure - by foundations, by fellowships, by publishing advances. Even though I am not American, I have been pampered enough myself to know how it can make your life too frictionless.

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.

There was great political uncertainty in South Asia at the time of the Buddha. The older small tribal societies were cracking up and gave way to bigger states. There was much more trade and travel going on than before. To people in the cities the experience of living in a small place where you knew everyone and governed your affairs by consensual democracy had been lost.

Most writers have very little that's important or valuable to offer; most of them are just repeating each other.