Top 237 Quotes & Sayings by Mohsin Hamid

Farmers and people who make a living from the land are finding it impossible to survive. So the first step is to get out of that place. Come to the city where there are opportunities.

I was 30 when 9/11 happened and I had lived exactly 15 years of life in America, so I was half American. I was a full-fledged New Yorker.

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'd rather create a miniature painting than a Taj Mahal of a book.

It's very easy, if you come from a place like Pakistan, to imagine that there's a narrative of American aggression towards the place that you come from. But that, in itself, is just a political view.

Literature helps us transcend ourselves.

The world seems concerned with Pakistan primarily as an actor in global attempts to combat terrorism.

For a combination of reasons, and despite evident fondness for American products and individuals, my impression is that most Pakistanis have extremely negative views of the U.S. as a geopolitical player.

Basically, asking me what kind of music I like is like asking what kind of food I like: 'Anything that tastes good,' is the answer. I'm the kind of guy who spends three times as much on his speakers as he does on his television.

I took a couple of creative writing classes with Joyce Carol Oates at Princeton University, and in my senior year there, I took a long fiction workshop with Toni Morrison. I fell in love with it.

I take six or seven years to write really small books. There is a kind of aesthetic of leanness, of brevity.

Islam is not a race, yet Islamophobia partakes of racist characteristics.

Novel writing is solitary work.

America's strength has made it a sort of Gulliver in world affairs: By wiggling its toes it can, often inadvertently, break the arm of a Lilliputian.

Nothing good gets written without the writer suffering along the way, in my opinion. Writing should be a pleasure, but unless you feel almost broken many, many times in the journey to a novel, you haven't pushed yourself hard enough.

The four places I've called home in my life have been Lahore, London, New York and California. And I have a very strong tie to each one of those four places.

I come from an enormous and very close family. I have over a dozen aunts and uncles in Pakistan, dozens of cousins. I have many close friends. I have received so much love in Lahore that the city always pulls me.

There is a huge sense of loneliness as people leave villages and move to cities. It's hard to find that human connection as you move away from where you started.

When people talk about the death of the novel, they are speaking of the need for the birth of something different.

I am a strong believer in the intertwined nature of the personal and the political; I think they move together.

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.

Capitalism is like the law of the jungle with a few rules. There isn't another system that works for our society but left unchecked, capitalism can have a dehumanising effect.

We are each of us composed of atoms, but equally, we are composed by time.

Oftentimes I deliberately put ambiguity into my books so that... the reader is left with an echo of: 'How much of this was from me?'

I don't listen to music when I write. I need silence so I can hear the sound of the words.

Migration isn't a one-directional process; it's a colossal process that has been happening in all directions for thousands of years.

For people who are at the bottom economically, the world is becoming a harder and harder place. And yet the incentives to become rich are so great because enormous amounts of wealth are being accumulated. And so those two things, that carrot and stick, are beating people along this trajectory of trying desperately to move up in the world.

Pakistan now is like a horror film franchise. You know, it's 'Friday the 13th, Episode 63: The Terrorist from Pakistan.' And each time we hear of Pakistan it's in that context.

Stories helped me unite parts of my existence that might otherwise have seemed irrevocably split by geography and time. And stories helped me find a future in which I, such a mongrel, could be comfortable.

Sufi poetry is, in a sense, self-help poetry about how to live a decent life, how to deal with your mortality.

Only in novels can we take another human being into our head and create something jointly.

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.

There are many cultural scenes in Lahore, just as there are in London. And there is a celebrity culture here, just as there is in London. But in Lahore, the celebrity scene doesn't drown out the rest quite so much.

I am not much of a researcher as a novelist; I write mainly from experience.

I think there's a growing courage among the younger generation of American writers. Because of the more superficial treatment of characters taking place in cinema, they have had to deal with that by digging deeper into who these people are.

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.

Violent cities, people who live in violent cities, find a way - as New Yorkers did 30 or 40 years ago - they find a way to just carry on. But you're stressed out. You're worried, you know.

Pakistan hasn't been cast in the role of... interesting cultural place or, you know, land of great comedians.

A reader should encounter themselves in a novel, I think.

I think the most effective forms of critique are ones that establish a common ground for people to occupy, and then appeal to the best nature of people on that common ground.

Americans need to educate themselves, from elementary school onward, about what their country has done abroad. And they need to play a more active role in ensuring that what the United States does abroad is not merely in keeping with a foreign policy elite's sense of realpolitik but also with the American public's own sense of American values.

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.

Growing up in Pakistan in the 1980s, I lived in the shadow of a tyrannical state.

Maybe we are all prospective migrants. The lines of national borders on maps are artificial constructs, as unnatural to us as they are to birds flying overhead. Our first impulse is to ignore them.

When I travel, I feel more like a nomad than a tourist.

Being outside the candy store looking in is the state of people today. Whether you're in a Pakistani village watching somebody in a car drive by, or you're in the city of Lahore going to a restaurant and seeing somebody with a security entourage coming in... you're exposed to people with more.

Chance plays a powerful role in every life - our brains and personalities are just chemical soup, after all; a few drops here or there matter enormously - but consequences often become more serious as income levels go down.

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.

When I'm writing well, I feel happy. And when I go too long without writing, I begin to implode.

Like many kids, I used to pretend all sorts of things. I would climb into a tree and imagine that I was on an island, that the grass below we was an ocean, that the leaves were the fins of sharks. Perhaps unlike many people, I never really stopped. I still have a childlike predisposition to fantasise and share my fantasies.

Being a writer is not the point. Writing is.

As a writer, I am constantly aware that I take my life in my hands with everything I do and say. It's just a fact of life. For me it always has been.

Television has given Pakistan a truly open national forum for the first time in its history. Ideas are debated, leaders are assessed and criticised, and a nation of 170 million people is finally discovering, together, what it thinks.

'Which is stronger, politics or love?' is like asking, 'Which is stronger, exhaling or inhaling?' They are two sides of the same thing.

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.

Empathy is about finding echoes of another person in yourself.

For me, writing a novel is like solving a puzzle. But I don't intend my novels as puzzles. I intend them as invitations to dance.

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 Michael Moore-style artist, which is not to disparage Michael Moore. But he seems rather unsuccessful at winning people over who don't already agree with him.

Novel writing is the slowest art form in the world. It is not a sprint. It is not even a marathon. It is a series of marathons that stretch over and over across a continent.