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.
I take six or seven years to write really small books. There is a kind of aesthetic of leanness, of brevity.
Violent cities, people who live in violent cities, find a way - as New Yorkers did 30 or 40 years ago - they find a way to just carry on. But you're stressed out. You're worried, you know.
I don't listen to music when I write. I need silence so I can hear the sound of the words.
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.
The world seems concerned with Pakistan primarily as an actor in global attempts to combat terrorism.
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.
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 am a strong believer in the intertwined nature of the personal and the political; I think they move together.
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.
Sufi poetry is, in a sense, self-help poetry about how to live a decent life, how to deal with your mortality.
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.
I think there's really strong social stratification in South Asia.
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 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.
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 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.
