This strange business of what it is to be a writer is this increasingly insane world in which we live, in which surrealism, it seems, is the new realism.

A book is a product of a pact with the Devil that inverts the Faustian contract, he'd told Allie. Dr Faustus sacrificed eternity in return for two dozen years of power; the writer agrees to the ruination of his life, and gains (but only if he's lucky) maybe not eternity, but posterity, at least. Either way (this was Jumpy's point) it's the Devil who wins.

I grew up in a family in which there was very little religion. My father wasn't religious at all. But he was really interested in the subject of, you know, the birth and growth of Islam. And he basically transmitted that interest to me.

You can't assume if you do something contentious that people will be on your side. The moment violence enters the story, the story changes. Then the question is, "How do you face up to violence?" And then you have to have a no-compromise position. And this is quite simply a lesson we learn in the school playground.

I did a lot of student acting when I was young.

My father decided that he was such a admirer of Ibn Rushd's philosophy, thinking that he changed the family name to Rushdie. I realized why my father was so interested in him, because he was really an incredibly modernizing voice inside our Islamic culture.

Reading is a very different thing than performing. In fact, one of the things I think that doesn't work in books on tape is if the person doing the reading "acts" too much; it becomes irritating to you listening to it.