Empathy is about finding echoes of another person in yourself.

Migration isn't a one-directional process; it's a colossal process that has been happening in all directions for thousands of years.

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.

Capitalism is like the law of the jungle with a few rules. There isn't another system that works for our society but left unchecked, capitalism can have a dehumanising effect.

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

Maybe we are all prospective migrants. The lines of national borders on maps are artificial constructs, as unnatural to us as they are to birds flying overhead. Our first impulse is to ignore them.

Love places someone else in the centre of your being and your own self is blurred.

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

The four places I've called home in my life have been Lahore, London, New York and California. And I have a very strong tie to each one of those four places.

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.

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

My earliest memories are of watching 'Star Trek' and 'MASH' while my parents barbecued chicken in the back yard. I was an American kid, through and through.

Like many kids, I used to pretend all sorts of things. I would climb into a tree and imagine that I was on an island, that the grass below we was an ocean, that the leaves were the fins of sharks. Perhaps unlike many people, I never really stopped. I still have a childlike predisposition to fantasise and share my fantasies.

I think the most effective forms of critique are ones that establish a common ground for people to occupy, and then appeal to the best nature of people on that common ground.

Islam is not a race, yet Islamophobia partakes of racist characteristics.

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.

Americans need to educate themselves, from elementary school onward, about what their country has done abroad. And they need to play a more active role in ensuring that what the United States does abroad is not merely in keeping with a foreign policy elite's sense of realpolitik but also with the American public's own sense of American values.

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

I think that there is a degree of petulance around President Trump and also a degree of sort of blundering incompetence, which is unlike most businesspeople.

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.

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 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 I travel, I feel more like a nomad than a tourist.

Basically, asking me what kind of music I like is like asking what kind of food I like: 'Anything that tastes good,' is the answer. I'm the kind of guy who spends three times as much on his speakers as he does on his television.

Novel writing is the slowest art form in the world. It is not a sprint. It is not even a marathon. It is a series of marathons that stretch over and over across a continent.

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.

Stories helped me unite parts of my existence that might otherwise have seemed irrevocably split by geography and time. And stories helped me find a future in which I, such a mongrel, could be comfortable.

I took a couple of creative writing classes with Joyce Carol Oates at Princeton University, and in my senior year there, I took a long fiction workshop with Toni Morrison. I fell in love with it.

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

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.'

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

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.

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.

'Which is stronger, politics or love?' is like asking, 'Which is stronger, exhaling or inhaling?' They are two sides of the same thing.

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.

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 think if you say that art and politics, or religion and politics, mustn't mix, don't mix, that is itself a political statement. Even if you are writing a 19th-century novel where the money comes from a plantation in the Caribbean and you don't talk about that, that itself is a political thing.

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.

Television has given Pakistan a truly open national forum for the first time in its history. Ideas are debated, leaders are assessed and criticised, and a nation of 170 million people is finally discovering, together, what it thinks.

I am a strong believer in the intertwined nature of the personal and the political; I think they move together.

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.

I come from an enormous and very close family. I have over a dozen aunts and uncles in Pakistan, dozens of cousins. I have many close friends. I have received so much love in Lahore that the city always pulls me.

Farmers and people who make a living from the land are finding it impossible to survive. So the first step is to get out of that place. Come to the city where there are opportunities.

I think there's a growing courage among the younger generation of American writers. Because of the more superficial treatment of characters taking place in cinema, they have had to deal with that by digging deeper into who these people are.

Nothing good gets written without the writer suffering along the way, in my opinion. Writing should be a pleasure, but unless you feel almost broken many, many times in the journey to a novel, you haven't pushed yourself hard enough.

Novel writing is solitary work.

I take six or seven years to write really small books. There is a kind of aesthetic of leanness, of brevity.

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.

For people who are at the bottom economically, the world is becoming a harder and harder place. And yet the incentives to become rich are so great because enormous amounts of wealth are being accumulated. And so those two things, that carrot and stick, are beating people along this trajectory of trying desperately to move up in the world.

I don't listen to music when I write. I need silence so I can hear the sound of the words.