I think the business of writing a great deal of it is the business of paying attention to your characters, to the world they live in, to the story you have to tell, but just a kind of deep attention and out of that if you pay attention properly the story will tell you what it needs.

I am on Facebook, but mainly as a way to spy on my children. I find out more about them from their Facebook pages than from what they tell me.

The liveliness of literature lies in its exceptionality, in being the individual, idiosyncratic vision of one human being, in which, to our delight and great surprise, we may find our own vision reflected.

I thought, you know, I would probably not have seen that. On the other hand, he's obviously completely telling the truth. So, then what is that? That's - I wanted to explore that. And then I wanted to talk about how ideas are born. And the big question that the book asks in a number of ways about a number of things is that. How does a new idea come into the world?

The question I'm always asking myself is: are we masters or victims? Do we make history, or does history make us? Do we shape the world, or are we just shaped by it? The question of do we have agency in our lives or whether we are just passive victims of events is, I think, a great question, and one that I have always tried to ask.

Our lives disconnect and reconnect, we move on, and later we may again touch one another, again bounce away. This is the felt shape of a human life, neither simply linear nor wholly disjunctive nor endlessly bifurcating, but rather this bouncey-castle sequence of bumpings-into and tumblings-apart.

In India, as elsewhere in our darkening world, religion is the poison in the blood. Where religion intervenes, mere innocence is no excuse. Yet we go on skating around this issue, speaking of religion in the fashionable language of 'respect.' What is there to respect in any of this, or in any of the crimes now being committed almost daily around the world in religion's dreaded name?