Modernity means overabundance. We are living in the age of mass-produced objects, things that come without announcing themselves and end up on our tables, on our walls. We use them - most of us don't even notice them - and then they vanish without fanfare.

I really don't want to portray the Islamists as simply evil, the way it's often done in the west.

My hero wants to belong too, but he doesn't want to give up all the things he came to value in the west.

The hero of the book does long to experience God. But his conception of God is very western.

The challenge is to lend conviction even to the voices which advocate views I find personally abhorrent, whether they are political Islamists or officers justifying a coup.

I see Turkey's future as being in Europe, as one of many prosperous, tolerant, democratic countries.

These political movements flourish on the margins of Turkish society because of poverty and because of the people's feeling that they are not being represented.

The opponents of this process have always tried to vilify westernization as a poor imitation.

Well, on the one hand the Turks have the legitimate need to defend their national dignity - and this includes being recognized as a part of the west and Europe.

At first my publisher had reservations about publishing it in the form you are familiar with.

I want to describe the psychological state of the people in a certain city.

One side of me is very busy paying attention to the details of life, the humanity of people, catching the street voices, the middle-class, upper-middle-class secret lives of Turks. The other side is interested in history and class and gender, trying to get all of society in a very realistic way.

I wanted to tell a romantic and dark side of Ottoman history that was also slightly political, saying to the previous generation of writers, 'Look, I'm interested in Ottoman things, and I'm not afraid of it, and I'm doing something creative.'

Good fiction is about asserting the beauties of the world, inventing a new, positive thing. Where am I going to get that? And it should be original; it should not be cliched. So the way I looked at history was not to accuse it of failure.

'Snow' is my most popular book in the United States. But in Turkey, it was not as popular as 'My Name is Red,' or even 'The Museum of Innocence,' because the secular leaders didn't want this bourgeois Orhan trying to understand these head-scarf girls.

I sometimes feel nervous because I give stupid answers to certain pointless questions. It happens in Turkish as much as in English. I speak bad Turkish and utter stupid sentences.

I have been attacked in Turkey more for my interviews than for my books. Political polemicists and columnists do not read novels there.

When I was publishing my first books, the previous generation of authors was fading away, so I was welcomed because I was a new author.

I have always thought that the place where you sleep or the place you share with your partner should be separate from the place where you write. The domestic rituals and details somehow kill the imagination. They kill the demon in me.

Generally, I get bad reviews in Turkey.

I don't judge my characters.

I think novelists should be disciplined and self-imposed working hours. I work a lot, but I don't feel that I'm working. I always feel that there is a child in me, healthy, and I'm playing.

When I write, I feel that I'm writing with my intellect. When I paint, I think it's some other force making me paint. I - as I wrote in my novel 'My Name is Red' - watch with amazement what my hand is doing on the paper, what kind of line, what kind of strange, beautiful thing it's doing in spite of my will, so to speak.

I believe in a world where there are no heroes, and I've read and know humanity a lot. There are moments that I admire in a person courage, intellect, hard work. These are the qualities I admire in an intellectual, in a writer, and there are so many people who have these things.

The truly great books are always novels: 'Anna Karenina,' 'The Brothers Karamazov,' 'The Magic Mountain.' Just as with 'Shahnameh,' I browse these books from time to time to remember how a great book works on us or to teach my students at Columbia University.

Just as good books give me the joys of being alive, bad novels depress me, and as I notice this sentiment coming from the pages, I stop. I also do not hesitate to walk out of a movie house if the film is bad.

To appropriate an invention, be it artistic or technical, you have to have at least a part of your spirit embracing it so radically that you somehow change.

Self-hatred is OK. I have self-hatred, too. It's OK. What's bad is if you don't know how to get out of it, don't know how to manage it. Self-hatred is, in fact, a good thing if you can clearly see the mechanism of it, because it helps you to understand others.

First, I would find an object which I would think is suitable for my characters and stories, then write about it, and in the end, I ended up with a house full of thousands of objects.

People look at me as sort of a diplomat for Turkey, which by nature, I'm not; I don't want to be. It's again about that playfulness. Being Turkey's voice or representative is not playful, it's not childlike; it makes me self-conscious, kills the child in me.

The habit of collecting, of attachment to things, is an essential human trait. But Western civilization put collecting on a pedestal by inventing museums. Museums are about representing power. It could be the king's power or, later, people's power.

At the age of 60, I am less experimental and more mature. I want most of all to convey my understanding of life.

For me, Westernization is not about consuming fanciful goods; it's about a system of free speech, democracy, egalitarianism and respect for the people's rights and dignity.

We fall in love more deeply when we're unhappy.

'The Museum of Innocence' is not about politics; it's a love story, but I think it's political in the sense that it wants to capture how a man suppresses a woman.

When people read a novel 600 pages long, six months pass, and all they will remember are five pages. They don't remember the text - instead, they remember the sensations the text gives them.

I don't like to make strong statements. I want to write strong novels... I keep my deep, radical things for my novels.

I write a world where everyone is partly right.

I wrote 'My Name is Red' just to remember painting, where the hand does it before the intellect. When I'm captive to it, I'm a happier person. Kierkegaard tells us that a happy person is someone who lives in the present; the unhappy person, someone who lives either in the past or the future.

I don't want to be a tree; I want to be its meaning.

Authoritarianism, an unrealistic occidental imagination - these issues will never be settled. Turkey will continue to take Europe as a model; it will continue to pursue its search for democracy.

Idealism, unrealistic idealism, is always contrasted with the reality of the people, of the man in the street. The details of daily life are always more convincing than the political fantasies of the earlier generations.

Novels are political because in them, we try to identify with people who are not like us. And, in that sense, I like the first-person singular because I have to imitate accurately the voice of someone who is not like me. The third-person singular gives me an authority over a character.

I always enjoy impersonating my characters in the first-person singular.

I strongly believe that the art of the novel works best when the writer identifies with whoever he or she is writing about. Novels in the end are based on the human capacity, compassion, and I can show more compassion to my characters if I write in a first person singular.

We should not judge Islam by terrorists. All civilizations and cultures produce terrorists. Every time there is a flag-burning, killing, or provocative films, I'm worried, not because something radical will happen, and this time, some people are killed. We're very sorry for that.

The fictive structure, my work, my imagination, my books are about the details, the huge construction about culture, Islamic culture or modern Turkey. They're all intertwined.

I think less than people think I do about politics. I care about writing.

Nothing can be as astounding as life. Except for writing. Yes, of course, except for writing, the sole consolation.

Let us say in the pocket of one of my old coats I find a movie ticket from many years ago. Once I see the ticket, not only do I remember that I saw this movie, but also scenes from this movie, which I think I have entirely forgotten, come back to me. Objects have this power, and I like it.