There's a real, brutal nature to the capitalism practiced by the main character in 'How to Get Filthy Rich in Rising Asia.' And I think playing dirty is certainly part of that.
My earliest memories are of watching 'Star Trek' and 'MASH' while my parents barbecued chicken in the back yard. I was an American kid, through and through.
I am a fairly mongrelized person - you know I've been a migrant my whole life, and it's hard to think of myself as any pure one thing. And so I take it, I guess, very personally - this notion that migrants are bad and that mixing is bad and that people from other places are bad.
Given enough time, polar bears might migrate off the Arctic ice, evolve darker coats, find a different diet, and thrive in a new, warmer climate. But if the ice on which they depend disappears in a few decades, they are likely to die.
I'd rather create a miniature painting than a Taj Mahal of a book.
I try to write short novels and leave details out not because I want to be minimalist, but because I think that it enables the readers' creativity and interaction with the book.
When I travel, I feel more like a nomad than a tourist.
I've realized that it's important to stop trying to think I'm any one thing. People are confused as to their identity and try to cling to one aspect of that identity to describe what they are: American, Republican, Muslim. These are really incomplete.
Certainly, historically, there has been more attention given in the international media to Indian English-language writers than to Pakistani English-language writers. But that, in my opinion, was justified by the sheer number of excellent writers coming from India and the Indian diaspora.
Like many of my friends in the Pakistani diaspora - and many of my friends in Pakistan itself, for that matter - I have sometimes looked at the country of my birth and wondered whether its future will be one of steady and sad decline.
If it takes you seven years to write each novel, you need a patron. And I would rather have my corporate self as my patron than any arts council or bestower of grants.
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.
Part of the reason people abroad resent the United States is something Americans can do very little about: envy. The richest, most powerful country in the world attracts the jealousy of others in much the same way that the richest, most powerful man in a small town attracts the jealousy of others.
I don't want to be a propagandist or say that Pakistan is just great. There are problems, but it is a much more complex place than we are given to believe.
When the forces are aligning against hybridity, it harms everyone, as we are all migrants. Growing up in Pakistan, I know just how oppressive that kind of puritanical mindset can be.
I am not much of a researcher as a novelist; I write mainly from experience.
I think there's really strong social stratification in South Asia.
In Sufi terms, there are two very interesting notions of transcendence. One is to gaze out at the universe and to comprehend that what you see out there reflects what you are. The other one is to look inside yourself and recognise that the universe is present there.
Sufi poetry is, in a sense, self-help poetry about how to live a decent life, how to deal with your mortality.
Lived religion is a very different thing from strict textual analysis. Very few people of any faith live their lives as literalist interpretations of scripture.