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My parents left Libya in 1979, escaping political repression, and settled in Cairo. I was nine.

In 2006, I published my first novel, 'In the Country of Men.' The publication of the book gave me a bigger platform to speak about my father's abduction and Libya's human-rights record.

In the same way that Egypt and Libya conspired to 'disappear' my father and silence writers such as Idris Ali, they made me, too, to a far lesser extent, feel punished for speaking out.

The Arab Spring is a powerful and compelling response not only to an age of tyranny but also to the remnant chains of imperial influence.

A revolution is not a painless march to the gates of freedom and justice. It is a struggle between rage and hope, between the temptation to destroy and the desire to build.

Dreams have consequences.

My earliest memory of books is not of reading but of being read to. I spent hours listening, watching the face of the person reading aloud to me.

Civil war is a national crisis and also a private trauma: We suffer it collectively and in isolation.

The Arab Spring, with all of its failings and failures, exposed the lie that if we are to live, then we must live as slaves. It was an attempt to undermine not only the orthodoxy of dictatorship but also an international political orthodoxy where every activity must be approved by the profit logic of the 'ledger.'

We need a father to rage against.

Like most dictators, Col Gaddafi detests the metropolis. His vision of Libya is a kind of Bedouin romantic medievalism, suspicious of universities, theatres, galleries and cafes, and so monitors the cities' inhabitants with paranoid suspicion.

Growing up in the Libya of the 1970s, I remember the prevalence of local bands who were as much influenced by Arabic musical traditions as by the Rolling Stones or the Beatles. But the project of 'Arabisation' soon got to them, too, and western musical instruments were declared forbidden as 'instruments of imperialism.'

In the end, madness is worse than injustice, and justice far sweeter than freedom.

I am, by instinct, wary of revolutions. The gathering of the masses fills me with trepidation.

From before I was born, we Arabs have been caught between two forces that, seemingly, cannot be defeated: our ruthless dictators, who oppress and humiliate us, and the cynical western powers, who would rather see us ruled by criminals loyal to them than have democratically elected leaders accountable to us.

I can pinpoint the exact moment when I first began to think about what profession I should go into. It was 1978. I was seven and had just been handed over by the women of my family to the earnest and self-important gatherings of the men. I was no longer the responsibility of my aunts and older female cousins. I was now a man. This was a tragedy.

As a young boy in Libya, it was hard to escape the conclusion that the women were the most feeling and most functional part of society.

As part of the ritual of becoming a man, my maternal uncle, a judge, and his four sons, each older than me, took me deer hunting.

Over the centuries, close-knit tribes have played an important part in the cohesion of Libyan society.

Ivan Turgenev's novella 'First Love' is one of the most perfect things ever written.

The cost of Colonel Gaddafi's rule on Libyan society is incalculable.

Libyans are deeply unsettled by Gaddafi and his regime's careless contempt for human life. The dictatorship is willing to employ any methods necessary to remain in power.

We got rid of Muammar Gaddafi. I never thought I would be able to write these words.

Gaddafi tried to give a masterclass to men like the Syrian dictator, Bashar al-Assad, on how to crush a civilian uprising.

We have defeated Gaddafi on the battlefield; now we must defeat him in our imagination. We must not allow his legacy to corrupt our dream. Let's keep focused on the true prize: unity, democracy, and the rule of law. Let's not seek revenge; that would diminish our future.

Turgenev's achievement lies in how he succeeded, in spite of himself, his country, and his time, in exempting his work from public duty. This has given it that unnameable quality that makes every sentence true, every silence trustworthy.

I don't remember a time when words were not dangerous.

Nothing makes you feel more stupid than learning a new language. You lose your confidence. You want to disappear. Not be noticed. Say as little as possible.

In Libya, I did well at school because I was clever. In Egyptian public school, I got the highest marks for the basest of reasons. And in the American school, I struggled. Everything - mathematics, the sciences, pottery, swimming - had to be conducted in a language I hardly knew and that was neither spoken in the streets nor at home.

Switching languages is a form of conversion. And like all conversions, whether it's judged a failure or a success, it excites the desire to leave, go elsewhere, adopt a new language and start all over again. It also means that a conscious effort is demanded to remain still.

Grenfell, the building set on fire with the help of its own face, is a scene of a complex injustice: one that is moral, economic, political, and aesthetic. Not only was the cladding unsafe, it was ugly; not only was it ugly, it was untrue both to the architecture of the building it covered and untrue to its responsibility to human safety.

One of the frustrations of prison life, which is also one of its intended consequences, is that the prisoner is made ineffective. He is unable to be of much use. The aim is to render him powerless.

When I was 12 years old, living in Cairo, my parents enrolled me in the American school. Most of the Americans there appeared oddly stifled, determined to remain, if not physically then sentimentally, back in the United States.

Whenever I was encouraged by my elders to pick up a book, I was often told, 'Read so as to know the world.' And it is true; books have invited me into different countries, states of mind, social conditions and historical epochs; they have offered me a place at the most unusual gatherings.

Books have shown me horror and beauty.

All great art allows us this: a glimpse across the limits of our self.

Nothing we read can import new or foreign feelings that we don't, in one form or another, already possess.

I get a lot of energy from making things up, which is why I feel I'm a novelist.

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