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Thought is more important than art. To revere art and have no understanding of the process that forces it into existence, is finally not even to understand what art is.
I would want a sequel to 'Kaho Naa Pyaar Hai.' But more than me, it's the audience who are looking forward to the same.
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Every good government's duty is to do more for the regions that are underdeveloped.
The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.
I know I should have never got into politics. And I've learned my lesson. No more politics.
I ended up in Parliament and soon discovered that emotion really doesn't have any place in politics. It's a much more intricate and complicated game, and I just didn't know how to play it.
In the way in which we are living in a much more explosive and more tension-filled society, a society that is driven with more and more contradictions, it is but unavoidable that some of this will also come into cinema....
Authenticity does matter, but only as it serves the novel's more traditional literary demands: that the fault lines be drawn where the internal life and the larger world meet.
Ideally, I'd like to write poetry for public performances and prose for a different, more contemplative kind of consumption.
In the U.S., the FBI or the people I met from the Department of Justice might be ignorant about Islam or about the East more generally, but I felt they were less willing to make blanket judgments about Muslims. This...
Hemingway's short story 'Hills Like White Elephants' is a classic of its kind. It illustrates Hemingway's 'iceberg theory,' which requires that a story find its effectiveness by hiding more than it reveals.
The radio stations will happily recycle a badly worded statement by a politician all day but will steer clear of broadcasting more than once or twice a poem by Tomas Transtromer or Rita Dove.
In academe, we ought to temper our criticism of the idea of self-help because, in a more complex way, it is precisely what we offer our students through our teaching.
I've immersed myself in reading more and more of American literature, but no editor has asked me to comment on Jonathan Franzen or Jennifer Egan. It is assumed I'm an expert on writers who need a little less suntan lotion...
I think criticism is often so pallid, so tame. I wish it were more performative.
We learn that our lives find narrative form neither in the tired, familiar slogans of our captains nor in the symmetries of ideological camps, but in the differences that thrive behind settled, more clear-cut divisions.
We live in a cynical system where the powerful are able to exploit the demand of the aggressive few, from whichever religion or group, to bargain for more power or cynical advantage.
I like to write about real people, real crimes. But what has increasingly come to interest me, and also appear to me as a challenge, is the idea of doing strange things with what is real. Take what is real...
I think I have a very American desire and willingness to divulge everything. I would divulge more if I didn't know it wasn't smart.
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