The PEN/Barbara Goldsmith Freedom to Write Award is a way of spotlighting individual cases. If you look at the history of the award, the freedom rate is very high: a very high percentage of people who receive those awards are freed in the next six months to a year. The only weapon there is attention, but interestingly it works.

What happened in Pakistan was that people were told: You're all Muslim, so now you're a country. As we saw in 1971 with the Bangladesh secession, the answer to that was: 'Oh no, we're not.'

Home is the place where you feel happy.

The field of the novel is very rich. If you're a composer, you're well aware of the history of composition, and you are trying to make your music part of that history. You're not ahistorical. In the same way, I think, if you write now, you are writing in the historical context of what the novel has been and what possibilities it has revealed.

Some people are paralyzed by the consciousness of death, other people live with it.... The fatwa certainly made me think about it a lot more than I ever had. I guess I know I'm going to die, but then, so are you.

I don't think people cry reading 'Midnight's Children,' but a lot of people seem to cry watching the movie.

Once you get that instinct for the fictiveness, the fictionality of fiction, it kind of sets you free.