Salman Rushdie Quotes

If you have children you worry about the world you're leaving them.

Human beings understand themselves and shape their futures by arguing and challenging and questioning and saying the un-sayable, not by bowing the knee whether to gods or to men.

If bigots behave like bigots, it's not a huge surprise.

You don't just - you often have to defend the freedoms of people you don't like, you know, whose work you don't like, because freedom of speech is not just for serious people. It's also for trashy people. So, and, unfortunately, this is at the trashy end of the scale.

The west was involved in toppling the Mossadegh government. That ultimately led to the Iranian revolution.

Those who do not have power over the story that dominates their lives, power to retell it, to rethink it, deconstruct it, joke about it, and change it as times change, truly are powerless, because they cannot think new thoughts.

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.

Madame Bovary and a flying carpet, they are both untrue in the same way. Somebody made them up.

We live in a frightened time, and people self-censor all the time and are afraid of going into some subjects because they are worried about violent reactions.

The real risks for any artist are taken in pushing the work to the limits of what is possible, in the attempt to increase the sum of what it is possible to think. Books become good when they go to this edge and risk falling over it -when they endanger the artist by reason of what he has, or has not, artistically dared.

Literature is the one place in any society where, within the secrecy of our own heads, we can hear voices talking about everythingin every possible way. The reason for ensuring that that privileged arena is preserved is not that writers want the absolute freedom to say and do whatever they please. It is that we, all of us, readers and writers and citizens and generals and goodmen, need that little, unimportant-looking room. We do not need to call it sacred, but we do need to remember that it is necessary.

Why speak if you can't manage perfect thoughts, perfect sentences?

The history of a culture can be determined by its untranslatable words.

To put it as simply as possible: I am not a Muslim.[...] I do not accept the charge of apostacy, because I have never in my adult life affirmed any belief, and what one has not affirmed one can not be said to have apostasized from. The Islam I know states clearly that 'there can be no coercion in matters of religion'. The many Muslims I respect would be horrified by the idea that they belong to their faith purely by virtue of birth, and that a person who freely chose not to be a Muslim could therefore be put to death.

I was 21 in 1968, so I'm as much a child of the '60s as is possible to be. In those years the subject of religion had really almost disappeared; the idea that religion was going to be a major force in the life of our societies, in the West anyway, would have seemed absurd in 1968.

I do not read the works of Salman Rushdie, I write them. By the time I have finished writing them all I can think of is never reading them again. It's so deep, your involvement with a book, that once it's finished, then you are really done with it.

The frustrating part of being tagged 'controversial' is people go looking for trouble where there isn't any to look for.

History could claw upward as well as down. The powerful could be deafened by the cries of the poor.

Human beings do not perceive things whole; we are not gods but wounded creatures, cracked lenses, capably only of fractured perceptions. Partial beings, in all the senses of that phrase.

Most American writers don't get asked their opinion on current affairs, whereas in Europe and England, we still do. There are writers here who are the most sophisticated commentators, but they're not asked. Like Don DeLillo, who sort of forecast most of the modern world before it happened.

In spite of all evidence that life is discontinuous, a valley of rifts, and that random chance plays a great part in our fates, we go on believing in the continuity of things, in causation and meaning. But we live on a broken mirror, and fresh cracks appear in its surface every day.

I've never had very high regard for therapists. I owe my health, my mental survival, to my friends and loved ones.

When a reader falls in love with a book, it leaves its essence inside him, like radioactive fallout in an arable field, and after that there are certain crops that will no longer grow in him, while other, stranger, more fantastic growths may occasionally be produced.

No, I don't think it's fair to label Islam 'violent.' But I will say that to my knowledge, no writer has ever gone into hiding for criticizing the Amish.

Perhaps because my relationship with my father went through such a long, bumpy time, it's been very important for me to work to try to keep lines of communication open between my sons and myself to try to avoid my father's mistakes. At least if you're making mistakes, make different mistakes.

Self-censorship is a lie to yourself; if you are going to be trying to seriously create art, to create literary art, and you decide to hold back, to censor yourself, then you are a fool to yourself and it would be better that you kept your mouth shut and did not speak.

I've never read anything so badly written that got published. It made 'Twilight' look like 'War and Peace.'

If I were asked for a one-sentence sound bite on religion, I would say I was against it.

So when I studied history at Cambridge, I did a special subject in that, exactly that. And then actually that - while I was studying it was where I came across the so-called incident of the satanic verses.

Sometimes we feel we straddle two cultures; at other times, that we fall between two stools.

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.

When we stop believing in the gods we can start believing in their stories.

If you want to draw people into the story, you really have to write as if you're writing a novel and make these actually-existing people, including the actually-existing person with my name, into a believable person on the page. And that requires distance. That requires not being right up against the events you're talking about.

Wherever goodness lay, it did not lie in ritual, unthinking obeisance before a deity but rather, perhaps, in the slow clumsy, error-strewn working out of an individual or collective path.

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.

Our lives are not what we deserve; they are, let us agree, in many ways deficient.

‎No people whose word for 'yesterday' is the same as their word for 'tomorrow' can be said to have a firm grip on the time.

Religion, a mediaeval form of unreason, when combined with modern weaponry becomes a real threat to our freedoms. This religious totalitarianism has caused a deadly mutation in the heart of Islam and we see the tragic consequences in Paris today.

Shame is like everything else; live with it for long enough and it becomes part of the furniture.

You can't judge an internal injury by the size of the hole.

In the end, you write the book that grabs you by the throat and demands to be written.

I have a general feeling that writers and artists who are in this peculiar situation, of being a persecuted artist, all anyone ever asks about is the persecution. It may well be that's the last thing in the world they want to talk about. There were many years in which every journalist in the world wanted to talk to me, but nobody wanted to talk to me about my work. That felt deeply frustrating because I felt there was an attempt to stifle me as an artist. The best revenge I could have was to write.

In the end, the thing that's important about free expression is that it's the right from which all other rights are derived. If you can't articulate ideas and if you can't articulate critiques of other peoples' ideas, then you're powerless. What always increases the power of an authoritarian regime is whether it can successfully prevent people from expressing themselves.

We have come to think of taking offence as a fundamental right. We value very little more highly than our rage, which gives us, in our opinion, the moral high ground. From there we can shoot down at our enemies and inflict heavy fatalities.

What distinguishes a great artist from a weak one is first their sensibility and tenderness; second, their imagination, and third, their industry.

Free-form games in which the player can make choices about what the game is going to be, become a kind of gaming equivalent of the narrative possibility.

The most obvious inspiration to be brave is that we all feel it: you can't have free expression right now in a very wide range of countries. It takes a lot of guts for writers and journalists in those countries to stand up against repression and do what they do. Russia is a case in point where, as you know, journalists have an embarrassing habit of being killed for their reporting.

If you're going to write a memoir, try to be as honest and open as you can.