Writers ought to be regarded as wrongdoers who deserve to be acquitted or pardoned only in the rarest cases: that would be a way to keep books from getting out of hand.
I personally have a great deal of respect for readers. I have a great deal of respect for the human race. I think most people can tell the difference between fiction and fact. I think that the action of writing about something does not condone it. The best thing I can ever hope to do is provide good questions, and I think I do that. I hope I do.
The novelist now usurps the chair of the educator, the pulpit of the preacher, the columns of the journalist. Yet his original purpose of entertaining may have been his highest purpose. (introduction to Gladiator, Book League Monthly, 1930)
I don't confess in my work because to me, that implies that you're dumping all your guilt and sins on the page and asking the reader to forgive you.
Novelists, it seems to me, are the very last people who should be asked to comment on the news of the day, and sooner or later, when they have been pilloried for their views, most of them recognise this.
When a man becomes a writer, I think he takes on a sacred obligation to produce beauty and enlightenment and comfort at top speed.
Mythologies become exhausting burdens, from a writer's perspective.
I remember how surprised I was when my first novel was about to be published and I was informed that I could be sued for anything any one of my characters said. 'But I often don't agree with what they say,' I protested. The lawyer was not interested in the clear distinction I make between my own voice and the voices of my characters. Neither, I have found, are many of my readers.
When writing about historical characters I try to be as accurate as possible, and in particular not to misrepresent the view they held. With a real historical figure you have to be fair, and this is not an obligation you have in dealing with your own creations, so it is quite different.
And I don't want to begin something, I don't want to write that first sentence until all the important connections in the novel are known to me. As if the story has already taken place, and it's my responsibility to put it in the right order to tell it to you.
To read and to write. Some writers have to be told to write. They think their job is to meet agents and have experiences and they can just be rich and famous. Their job is to write. Some really don't realize that. And you can't write unless you read.
And must I, perchance, like careful writers, guard myself against the conclusions of my readers?
The advantage, the luxury, as well as the torment and responsibility of the novelist, is that there is no limit to what he may attempt as an executant - no limit to his possible experiments, efforts, discoveries, successes.
It's an ethical pact I've made with myself and with the reader - not to invent. And when I can't remember, I say I can't remember. I'm just appalled by the memoirs published by people who regurgitate dialogue, conversations from when they were small children, and they go on for three or four pages. I can't even remember what we said to each other ten minutes ago! How can I remember what was said sixty years ago? It's not possible.
Once I start writing about somebody, I become very protective of them.
At a time when India is going through great changes and, with China, is likely to inherit the world from the West, it is important that writers like me try to highlight the brutal injustices of society.
There was, in my view, an unwritten contract with the reader that the writer must honour. No single element of an imagined world or any of its characters should be allowed to dissolve on an authorial whim. The invented had to be as solid and as self-consistent as the actual. This was a contract founded on mutual trust.
I think it is our job, as writers, to be epic. Epic and tiny at the same time. If you're going to be a fiction writer, why not take on something that means something. In doing this, you must understand that within that epic structure it is the tiny story that is possibly more important.
After I finished my first draft of 'Salvage the Bones,' I felt that I wasn't political enough. I had to be more honest about the realities of the community I was writing about.
Writing might be unalloyed joy, were it not for the fact that power is always shadowed by responsibility. Thankfully, the absolute power that writers have is not weighted down with absolute responsibility. It can neither be suppressed nor diminished, except by choice.
I noticed in America that if you write a book of any kind, you're made to be the representative of all the issues that might surround it.
Whenever I've had to tamper with history for plot purposes, I make sure to mention that in my author's note, and I try to keep such tampering to a bare minimum. I also attempt to keep my characters true to their historical counterparts. This is not always possible, of course.
I should mention something that nobody ever thinks about, but proofreading takes a lot of time. After you write something, there are these proofs that keep coming, and there's this panicky feeling that 'This is me and I must make it better.'
Stallone is a great writer. He wrote one of the best screenplays ever written. Rocky. It is one of the biggest classics of all time. I think in the past, he was shying away from writing his own stuff, because there is a lot of pressure when you star in something that you write.
There comes a moment when the things one has written, even a traveler's memories, stand up and demand a justification. They require an explanation. They query, 'Who am I? What is my name? Why am I here?
