Quotes from Mohsin Hamid


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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.


Being a writer is not the point. Writing is.


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


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.'


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


Pakistan hasn't been cast in the role of... interesting cultural place or, you know, land of great comedians.


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


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.


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


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


Certainly, historically, there has been more attention given in the international media to Indian English-language writers than to Pakistani English-language writers. But that, in my opinion, was justified by the sheer number of excellent writers coming from India and the Indian diaspora.


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.


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.


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.


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.


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.


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.


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


It's very easy, if you come from a place like Pakistan, to imagine that there's a narrative of American aggression towards the place that you come from. But that, in itself, is just a political view.


As a writer, I am constantly aware that I take my life in my hands with everything I do and say. It's just a fact of life. For me it always has been.