A Quote by Mohsin Hamid

I am sometimes asked to name my favourite books. The list changes, depending on my mood, the year, tricks played by memory. I might mention novels by Nabokov and Calvino and Tolkien on one occasion, by Fitzgerald and Baldwin and E.B. White on another. Camus often features, as do Tolstoy, Borges, Morrison and Manto.
When I use a name or place, I want to leave the reader open to the waterfall of determinacy that it may provoke. And I don't know, but I must mention the name Borges. I try to mention it in every one of my works. It's a mark, a stamp, a sort of homage to Argentinidad. But it's an homage that works through pat phrases, those stock images that populate his work: the night, labyrinths, libraries. That is, I don't want simply to pay homage to Borges, but rather the contrary: to recall his commonplaces.
I was influenced growing up by everything from Harlequin romances to Fedor Dostoyevsky and Albert Camus, James Baldwin, Toni Morrison, and later Lydia Davis, Mary Gaitskill, bell hooks.
I went through a whole phase when I was younger of being obsessed with Tolstoy and Kafka and Camus, all those really, beautiful, dark depressing books.
I don't often reread my own books, unless I am going into another in the series and need to refresh my mood when originating the concept.
I don't often reread my own books, unless I am going into another in the series and need to refresh my mood when originating the concept
I admire Toni Morrison, Wole Soyinka, Margaret Atwood, James Baldwin, Elizabeth Strout, D. O. Fagunwa, Sefi Atta, Chimamanda Ngozi Adichie, Colm Toibin and Junot Diaz. It's a long list that keeps growing.
I love books; my suitcases are always full of them. Books and shoes. I read when I am sad, when I am happy, when I am nervous. My favourite British author is Jane Austen, and my favourite American one is John O'Hara.
The Anglo-American tradition is much more linear than the European tradition. If you think about writers like Borges, Calvino, Perec or Marquez, they're not bound in the same sort of way. They don't come out of the classic 19th-century novel, which is where all the problems start. 19th-century novels are fabulous and we should all read them, but we shouldn't write them.
I am attracted to the complexities and deeper truths of characters, and I can't name a favourite role any more than I can name a favourite food!
Memory plays tricks. Memory is another word for story, and nothing is more unreliable.
People sometimes ask me if I would not give anything to be white, I answer, in the words of the song, most emphatically, 'No.' How do I know what I might be if I were a white man? I might be a sand-hog, burrowing away and losing my health for $8 a day. I might be a street-car conductor at $12 or $15 a week. There is many a white man less fortunate and less well equipped than I am. In fact, I have never been able to discover that there was anything disgraceful in being a colored man. But I have often found it inconvenient - in America.
I've read probably 25 or 30 books by Balzac, all of Tolstoy - the novels and letters - and all of Dickens. I learned my craft from these guys.
You name the sport, I've played it. I was quarterback for a football team one year, played volleyball, played softball - you name it.
I'm a bit of a chameleon. My style changes depending on my mood, as I get bored really quickly.
I read tons of comic books. My favourite is Grant Morrison, a Scottish comic writer.
The essay is a wonderful medium. I might mention that some writers who longed to be novelists were better as essayists: Sontag, Baldwin, Vidal, Mary McCarthy, Mailer.
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