Mohsin Hamid

Lived religion is a very different thing from strict textual analysis. Very few people of any faith live their lives as literalist interpretations of scripture.

Growing up in Pakistan in the 1980s, I lived in the shadow of a tyrannical state.

In Sufi terms, there are two very interesting notions of transcendence. One is to gaze out at the universe and to comprehend that what you see out there reflects what you are. The other one is to look inside yourself and recognise that the universe is present there.

When people talk about the death of the novel, they are speaking of the need for the birth of something different.

Sufi poetry is, in a sense, self-help poetry about how to live a decent life, how to deal with your mortality.

I don't want to be a propagandist or say that Pakistan is just great. There are problems, but it is a much more complex place than we are given to believe.

How many big businesses don't resort to underhand means?

I believe one can gauge a book's impact only after about 10 years.

I don't know if I'm truly at home in any language.

In writing literary fiction, you are trying to help yourself. And readers are going to literary fiction not just to be entertained, but because they feel something else will happen; that the experience will take them beyond themselves and show them something they haven't seen before.

I think there's really strong social stratification in South Asia.

My grandparents used to pray five times a day, but they were quiet about their own thing. Completely liberal day by day; my grandmother was a social worker and my grandfather was an engineer, but they never talked about religion. My entire life I couldn't remember one conversation I had with them about religion.

I'm not a representative of Pakistan; I'm just an example that Pakistanis are different from each other. I believe it in my fiction and I believe it personally.

I'm not sure if guys are supposed to read Vanity Fair. I feel very metrosexual with it but am not sure it's in my comfort zone.

If your sense of self is destabilised, to imagine being another becomes pretty easy.

Novels are make-believe and play for adults.

For me, writing a novel is more like digging a well than climbing a mountain - some heroic thing where I set out to conquer. I just sit quietly for a few years, and then it starts to become something.

As a child I read all kinds of stuff, whether it was 'Asterix and Obelix' and 'Tin Tin' comic books, or 'Lord of the Rings,' or Frank Herbert's sci-fi. Or 'The Wind in the Willows.' Or 'Charlotte's Web.'

I think there's a natural link between the fact that our self is a story that we make up and that we're drawn to stories. It resonates, in a way.

Like many of my friends in the Pakistani diaspora - and many of my friends in Pakistan itself, for that matter - I have sometimes looked at the country of my birth and wondered whether its future will be one of steady and sad decline.

I like the idea of an open, international London that thrives on attracting hard-working, talented people but has the confidence to tell them they must play by the same rules as everyone else.

When terrorism strikes, divisive anger is a natural response.

Childbirth changed my perception of my wife. She was now the bloodied special forces soldier who had fought and risked everything for our family.

I am sometimes asked to name my favourite books. The list changes, depending on my mood, the year, tricks played by memory. I might mention novels by Nabokov and Calvino and Tolkien on one occasion, by Fitzgerald and Baldwin and E.B. White on another. Camus often features, as do Tolstoy, Borges, Morrison and Manto.

It is not surprising that most Pakistanis do not support America's bombardment of Afghanistan. The Afghans are neighbours on the brink of starvation and devastated by war. America has shown itself to be untrustworthy, a superpower that uses its values as a scabbard for its sword.

Most Muslims do not 'choose' Islam in the way that they choose to become doctors or lawyers, nor even in the way that they choose to become fans of Coldplay or Radiohead. Most Muslims, like people of any faith, are born into their religion.

Islamophobia, in all its guises, seeks to minimise the importance of the individual and maximise the importance of the group. Yet our instinctive stance ought to be one of suspicion towards such endeavours. For individuals are undeniably real. Groups, on the other hand, are assertions of opinion.

I'm pro-human. And I think recognizing the human nature of migration is very important.

Over time, our inescapable, systemic, fundamentally human impurity gives us the capacity to do what has not been done before: to make creative leaps in our biology, in the diseases we can resist and the foods we can digest. And in our thinking and culture and politics, too.

We are each of us composed of atoms, but equally, we are composed by time.

I think we need to radically reimagine the future - citizens, artist, writers, politicians, everyone.

I feel no desire to write a novel that takes place in the past.

I studied about the internment of Japanese Americans during the Second World War and about how the Constitution was written by men, many of whom were slave owners. So I suppose the travel ban strikes me as coming from an era I thought we'd left behind, but I guess we haven't entirely left it behind.

It's very contrary to the notion of what America is to imagine that we can stop migration.

Given enough time, polar bears might migrate off the Arctic ice, evolve darker coats, find a different diet, and thrive in a new, warmer climate. But if the ice on which they depend disappears in a few decades, they are likely to die.

Those of us who thought Jorge Luis Borges was a pioneer of magical realism were mistaken; he was a pioneer of science fiction.

I try to write short novels and leave details out not because I want to be minimalist, but because I think that it enables the readers' creativity and interaction with the book.

I often use nameless places in my work as a way of allowing the readers to create more of the novel and to make it potentially about their experiences, what they know, a city that they have perhaps seen on television.

When the forces are aligning against hybridity, it harms everyone, as we are all migrants. Growing up in Pakistan, I know just how oppressive that kind of puritanical mindset can be.

If you sit back and simply allow your country to be, it is highly unlikely to be the kind of country you want. You have to be active.

I personally tend to believe that there is a right to migration, the same way there's a right to love whom you like and to believe what you believe and to say what you want to say.

In a sense, by closing off the idea that young Muslims, and particularly young Muslim men, can be American heroes, it increases the chance that they'll try to be some other kind of hero. And that, I think, is entirely counterproductive.

I think I've always been drawn to the second person. When I was growing up and playing with my friends, the usual way we interacted with imaginary worlds was as characters: a bench was 'your' boat, leaves on a lawn were the fins of sharks out to get 'you.'

When the machine of a human being is turned on, it seems to produce a protagonist, just as a television produces an image.

We need a self because the complexity of the chemical processes that make up our individual humanities exceeds the processing power of our brains.

For me, writing a novel is like solving a puzzle. But I don't intend my novels as puzzles. I intend them as invitations to dance.

I think that when we take the long view, the notion that some people are deemed less worthy of being able to move - to not have the right to cross borders - over time, that's going to seem as outmoded and as unfair, really, as racial discrimination or other kinds of discrimination.

Outside of America, there are many people, myself included, who champion values that in some senses could be thought of as traditionally American: The idea that everybody is equal; the idea that the rights of women and men should be the same.

There's a real, brutal nature to the capitalism practiced by the main character in 'How to Get Filthy Rich in Rising Asia.' And I think playing dirty is certainly part of that.

The simple fact of being a human being is you migrate. Many of us move from one place to the other. But even those who don't move, and you stay in the same city, if you were born in Manhattan 70 years ago, you're born in Des Moines 70 years ago, you've lived in the same place for 70 years, the city you live in today is unrecognizable.