RUTH PRAWER JHABVALA

Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.

Film is not like a book; it's not a writer's baby at all. So many people have put in their talent, by that time that you feel grateful for what they've done, you don't feel possessive about it in any way.

The older books were quite light-hearted. But I think most of my novels do end on a deep note of pessimism. Shadows seem to be closing in. The final conclusion isn't that life is wonderful and everything is bright and cheery and in the garden.

One doesn't choose to become a writer. One is just born that way.

It's technically extremely difficult to get down what you really mean, not what you think you mean, or what you think sounds good, but what's really there, what you really have to express, in words that somehow convey that meaning in an approximate way.

England opened up the world of literature for me. Not really having a world of my own, I made up for my disinheritance by absorbing the world of others... I loved them: George Eliot, Thomas Hardy, Charles Dickens... I adopted them passionately.

India was a sensation. It was remarkable to see all those parrots flying about, the brilliant foliage and the brilliant sky. It was a tremendous pageant. I never noticed the poverty.

Westernized Indians don't like my books and I tend not to like westernized Indians - so we're quits.

I stand before you as a writer without any ground of being out of which to write: really blown about from country to country, culture to culture till I feel - till I am - nothing. As it happens, I like it that way.

I am a central European with an English education and a deplorable tendency to constant self-analysis. I am irritable and have weak nerves.

I only really woke up in India. It was my first experience of plenty, strangely enough, because everything in England was rationed. I loved sweets, but you couldn't get them; then there was this marvelous mitthai - I went crazy.

Film is not like a book; it's not a writer's baby at all. So many people have put in their talent, by that time that you feel grateful for what they've done, you don't feel possessive about it in any way.

The older books were quite light-hearted. But I think most of my novels do end on a deep note of pessimism. Shadows seem to be closing in. The final conclusion isn't that life is wonderful and everything is bright and cheery and in the garden.

The misfortune to be born when I was, where I was. That was a piece of bad luck.

I always find the first thing that really bothers me when I start a screenplay is, I have to find a different form. You can't follow the form of the novel. It's a different thing completely. It's impossible. You just somehow have to find a structure for the whole thing. You have to crack that.

It's technically extremely difficult to get down what you really mean, not what you think you mean, or what you think sounds good, but what's really there, what you really have to express, in words that somehow convey that meaning in an approximate way.

I never really had any close friends in India, and I felt a terrible loneliness and isolation for many years. Westernized Indians don't like my books and I tend not to like westernized Indians - so we're quits.

I am a central European with an English education and a deplorable tendency to constant self-analysis. I am irritable and have weak nerves.

England gave me a language and literature, the basis of what I am as a writer, but when I started writing more directly about my own experience, it wasn't England so much as what went before.

Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.

Once a refugee, always a refugee. I can't ever remember not being all right wherever I was, but you don't give your whole allegiance to a place or want to be entirely identified with the society you're living in.

I like characters who are larger-than-life, whether life-loving women or the artist or guru who grabs everything. But I don't live among people like that.

First, I was so dazzled and besotted by India. People said the poverty was biblical, and I'm afraid that was my attitude, too. It's terribly easy to get used to someone else's poverty if you're living a middle-class life in it. But after a while, I saw it wasn't possible to accept it, and I also didn't want to.

All my early books are written as if I were Indian. In England, I had started writing as if I were English; now I write as if I were American. You take other people's backgrounds and characters; Keats called it negative capability.

England opened up the world of literature for me. Not really having a world of my own, I made up for my disinheritance by absorbing the world of others... I loved them: George Eliot, Thomas Hardy, Charles Dickens... I adopted them passionately.

I was never interested in film. Never. I never even thought of it. I wasn't even a film buff, I didn't see many films ever.

Perhaps I'm just fickle by nature and get tired of countries the way other women do of husbands or lovers.

I stand before you as a writer without any ground of being out of which to write: really blown about from country to country, culture to culture till I feel - till I am - nothing. As it happens, I like it that way.

Everyone is so estranged; no one is rooted. That's what I like to write about more than anything else. Everything being so mixed up. Racially mixed up, people moving from place to place, everything shifting.

I'm not interested in who am I. I'm interested in what's gone, the disinheritance, what I've been able to become or learn or fuse with or not fuse with. A certain freedom comes... I like it that way.

One doesn't choose to become a writer. One is just born that way.

India was a sensation. It was remarkable to see all those parrots flying about, the brilliant foliage and the brilliant sky. It was a tremendous pageant. I never noticed the poverty.

Westernized Indians don't like my books and I tend not to like westernized Indians - so we're quits.

I am dissatisfied with everything I have ever written and regard it all only as a preparation for that one work which probably I don't have it in me to write but which I hope I can go on trying for.

India always changes people, and I have been no exception