For example, you have these grotesque, hilarious, profane ghosts in the book [Lincoln in the Bardo]. Even the concept of talking ghosts is, from an aesthetic point of view, grotesque. But you seem compelled by that risk in order to get to the other end of the equation.

An essential part of power is the freedom not to think too deeply

Some people--Samad for example--will tell you not to trust people who overuse the phrase "at the end of the day"--football managers, estate agents, salesmen of all kinds--but Archie's never felt that way about it. Prudent use of said phrase never failed to convince him that his interlocutor was getting to the bottom of things, to the fundamentals.

...despite all this, it is still hard to admit that there is no one more English than the Indian, no one more Indian than the English. There are still young white men who are angry about that; who will roll out at closing time into the poorly lit streets with a kitchen knife wrapped in a tight fist. But it makes an immigrant laugh to hear the fears of the nationalist, scared of infection, penetration, miscegenation, when this is small fry, peanuts, compared to what the immigrant fears - dissolution, disappearance.

Work on a computer that is disconnected from the ­internet.

It made me feel that I had to work very hard, but I've always felt I had to work very hard to get my own approval.

All novels attempt to cut neural routes through the brain, to convince us that down this road the true future of the novel lies.