A Quote by Karan Mahajan

Apparently, the city of Delhi is a 'character' in my novels. I'd argue that it's a ... city... in my novels. — © Karan Mahajan
Apparently, the city of Delhi is a 'character' in my novels. I'd argue that it's a ... city... in my novels.
The Neapolitan novels have a lot of references to things outside, to things of the world, to culture, politics, the city of Naples. People have mentioned that Naples is like a character in the novels.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
Novels with a "thesis" don't interest me. They just don't - novels that want to "show" something, that want to "argue" something specific. I don't read novels that are looking to convince me of anything.
The motive behind a Delhi Film Council is simple - with so many filmmakers coming to Delhi to shoot their films, casting Delhi's young lads in their movies and even keeping the city as the base of their story, they surely need more collaboration in future. When they'll have such a council in the city, they will be able to work better.
I've written a detective series myself, set in an imaginary, and slightly futuristic, Chinese city. The novels have an extremely tenuous relationship with the real world, since the hero is the city's Hell and ends up with a sidekick who is a demon.
I live in Harlem, New York City. I am unmarried. I like 'Tristan,' goat's milk, short novels, lyric poems, heat, simple folk, boats and bullfights; I dislike 'Aida,' parsnips, long novels, narrative poems, cold, pretentious folk, buses and bridges.
I left Delhi in 1989 and remember very little of how life used to be then. Increasingly, in my recent visits to Delhi, I've started to realize that the city has become intellectually very lively. It makes me want to discover the city over and over again.
Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.
Delhi is a very maligned city, and deservedly so. Yet there's something about it. It's a secret city, it doesn't hang out its wares. It's like a very deep river. Floating right up on top are the institutions of contemporary power: government, politics, media, and then there's the bureaucracy, the diplomatic missions. But it's also the city of intellectual debate, of protest, it's the city where people from all over the country converge to express their anger. And then, underneath all that, there's this crumbling, ancient city, a confluence of so much history.
There are lots of authentic, moving characters in so-called systems novels, just as there are certainly deep structural ideas in some character-driven novels.
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
The AAP government has turned Delhi into a city of potholes and has hurt the sentiments of people of the city.
Of course, every city has its own character, but I enjoy coming to Delhi.
I write my novels personally, desperately and non-negligently. When I write my novels, I think about my novels only, and never do other works.
I grew up on genre - on Westerns, spy thrillers, sci-fi, fantasy novels, horror novels. Especially horror novels.
Paris. City of love. City of dreams. City of splendor. City of saints and scholars. City of gaiety. Sink of iniquity.
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