There was - there still is - a big shortage of good Chinese-English literary translators. So for two years in London, I was stuck waiting, not writing, with several Chinese books I couldn't get translated. That's when I decided to write in English, since I had been living here and had decided to reconstruct my life here. Even if I wrote in broken English, it was better than getting bored and weary and bitter on the long queue of authors waiting to be translated by a stranger.

Never look back to the past, never regret, even if there is emptiness ahead.' But I couldn't help it. Sometimes I would rather look back if it meant that I could feel something in my heart, even something sad. Sadness was better than emptiness.

Somehow, in the novel format, I don't really like to do upfront, ideological discussion. In my heart, literature remains a poetic and ambiguous medium. On the other hand, I trained as a documentary filmmaker in film school, so my films very much reflect reality and socio-political problems. They're less subtle I would say.

I’m saying language is a passport. A dubious, dangerous passport too.

Self-censorship happens not only in China, or Iran or ex-Soviet places. It can happen anywhere. If an artist penetrates a certain taboo or a certain power through their work, he or she will face this problem. I'm always saying that commercial censorship is our foremost censorship globally today. Why do we still pretend we are free?

Its important to be comfortable with uncertainty.

There was - there still is - a big shortage of good Chinese-English literary translators. So for two years in London, I was stuck waiting, not writing, with several Chinese books I couldn't get translated. That's when I decided to write in English, since I had been living here and had decided to reconstruct my life here. Even if I wrote in broken English, it was better than getting bored and weary and bitter on the long queue of authors waiting to be translated by a stranger.