Vikram Seth Quotations

In general, questions are fine; you can always seize upon the parts of them that interest you and concentrate on answering those. And one has to remember when answering questions that asking questions isn't easy either, and for someone who's quite shy to stand up in an audience to speak takes some courage.

Everyone sort of sees his own life and times as being ephemeral. One thinks that everything good or important that happened, happened in the past. But I think that seeing scenes that you are used to, but with the heightening effects of poetry, perhaps makes you value your life and times more than you might otherwise do.

Poetry, I think, intensifies the reader's experience. If it's a humorous facet of the story, poetry makes it more exuberant. If it's a sad facet, poetry can make it more poignant.

The thing about inspiration is that it takes your mind off everything else.

Revision has its own peculiar pleasures and its own peculiar frustrations. The ground rules are already established; the characters already exist. You don't have to bring the characters to life, but you do have to make them more convincing.

I don't think anyone should be banned. If you don't like a book, set it aside.

Fiction basically is a form of gossip where you want to enter other people's lives, the lives of people you don't know, and you want to know what's going to happen to them.

I need my natural laziness to be counteracted by obsession in order to do anything.

I'm not sure anyone can understand a whole life, even their own.

Good music is good music, but it has to be good.

I am certainly not allergic to causes - particularly on subjects such as religious intolerance.

It is exciting to write about the present once one gets beyond the trivia of the moment. As a time to live in, as a time to think about, the present is intriguing.

The trick to being a novelist is to act like an iceberg. Make it seem as if you're displaying only one-tenth of what you know, and the other nine-tenths isn't visible and never mind if that part is pure styrofoam!

I'm actually a very lazy person. Most of the time, I'm happy to sit around and stare. Or watch bad TV soaps. It's quite rare for me to get inspired by anything, but it could be something small. A view of the Serpentine. A snatch of music. Or a little shred of conversation overheard on a bus, such as, 'You also will marry someone of my choice.'

I rarely listen to music while writing. If I don't like it, it bothers me, and if I like it, it absorbs me so much I can't write.

I simply seem to drift. But I sort of allow the drift, because it has a kind of check - it forces me to work harder at what I'm interested in.

My main motivation is not to get bored. I'm just hoping I get a vaguely maverick reputation.

Realism hasn't fallen out of favor with most people, who are interested in people's lives rather than gymnastics of style or literary trends. It's a certain kind of academic who undervalues realism, largely because it is not amenable to endless exegesis.

When I realised that I had feelings for men as well as women, at first I was worried and frightened, and there was a certain amount of 'Who am I? Am I a criminal?' and so on. It took me a long time to come to terms with myself. Those were painful years - painful then and painful to look back on.

I know from an editor's point of view or a publisher's point of view it's easier to slot me into a particular niche. But I know that I'd be bored unless I wrote a book that in some senses was a challenge.

You have to learn a few things, which you do along the way, but basically, poetry is a matter of the ear. Iambic pentameters or what constitutes a stanza comes naturally - your ears will know.

You get your inspiration - suggestions - wherever you have to, even from your mother.

I love speculating about solutions to problems in mathematics. I have no interest whatever in sudoku. But I do look at chess and bridge problems in newspapers. I find that relaxing.

Dear though the reader might be, I'd be silly to cater to what the reader wanted.

I don't pick and choose subjects or settings; they pick and choose me.

I often feel newspapers are just filling up space. Of course, I also know people who write really long books.

I think goodness is about how person behaves to person, and also person to world, to nature.

I think if something is worth doing, it's worth doing well. And worth thinking about it as well.

Basically, my mother couldn't hold a tune and when I was a baby, a rather tactless baby, I would ask her not to sing... you can't get to sleep if someone is singing off key nearby.

Why do writers, say, give up a job in economics and decide to write poetry? Or, why do they give up a job in a bank and decide to paint, like Krishan Khanna? They want to convey something.

After 'A Suitable Boy,' I didn't write anything, not even a short story. I thought to myself: 'I ought to start writing.' But I can never force myself to write.

I am careful about fiction. A novel is not a tract or an essay. If I want to write about land reforms, or Hindu-Muslim relations, or position of women, I can do it as it affects my characters as in 'A Suitable Boy.' I could only write about issues specifically through essays. But I'll do that only if I have something worthwhile to say.

If somebody writes clearly, you can pretty much tell immediately if something is shallow or deep, whereas if they write with all this duckweed on the surface, you can't tell if the stream is one inch deep or a hundred fathoms.

Of course, a law that is selectively used is in one aspect even worse than a law that is generally used because it puts a lot of power in individuals' hands and makes government a rule, not of laws, but of people.

The point really is that a writer tends to write a book that he or she tends to write. It's as simple as that. Of course, it's important to make a living and all that, but the main impulse as far as I'm concerned - and I'm sure as other writers are concerned - is to tell a story that I feel impelled by.

The problem with too beautiful a view is that it's alright for the mulling stage. But for the writing stage, you want to be somewhere without a view, especially if it is very different from what you're writing.

I don't think people give Indian society enough credit. We may not like to talk much about things but we do, basically, want to live and let live.

I tend to follow a scattershot approach to reading a lot of very diverse subjects interest me, and I'm quite happy to read stuff on any of them.

I just love music - by no stretch of the imagination am I professionally competent.

In spite of all temptations of belonging to many nations, I've remained an Indian.

I have a reputation for being hermitlike. I'm not. I'm just obsessed with my work.

I think it's possible to be multi-rooted, rather like a banyan tree, without being deracinated.

I don't read as much as people may expect. In fact, sometimes I feel that I should probably read more, but then I do believe that one of the big problems of our times is that there's too much reading and not enough thinking.

I want my books to sell, to be read. I'm not interested in being obscure.

If I'm compelled to do something, I don't shy away from it simply because I haven't tackled it before.

On the whole, I don't like reading long books. I'm not a fan of 'Ulysses.' And I haven't quite finished 'War and Peace.'

So many Indian novels, quite unfairly, do not get the prominence they should because they have been written in a language other than English.

There are plenty of good Indian writers in English, and none of us feel we are carrying the burden of being a poster boy.

You can talk good ideas out of existence.

You know, I can imagine not writing a novel and writing poetry only.

The fact is that at different stages of your life, and under the influence of different inspirations, you write different things. The point is not necessarily to find your voice, which grinds out the same sort of thing again and again, but to find a vehicle for people who are far more important than the author: the characters.

As for what I listen to after writing, it could be anything - but I've noticed that if the current book contains music from one tradition, it is music from another tradition that most relaxes me.

Do not write if there is no tremendous urge to do so. At the heart, there must be an inspiration or muse or one of those old-fashioned things. Else, why bore yourself, destroy other people's interest and kill trees?

I certainly think it's very important that writers as citizens - not necessarily as writers, but just as ordinary citizens - should talk about things that matter to them.

I don't want to talk too much about the nitty-gritty of writing. It's rather like a pressure cooker with a certain amount of pressure in it - the more you let out, the less you cook.

I spent many years of my life as an economist and demographer. I was finally distracted by writing my novels and poetry. I'm enormously happy that was the case. I feel that with writing I have found my metier.

If you were to ask me to pick my favourite author, well, there are so many of them, I'd really just have to say the first names that came to mind, and I'm sure that I'll later think 'Oh, I should have mentioned that one.'

In a painting, you can't make out whether the artist painted the left eye before the right eye. In Chinese calligraphy, you can see the progression of the artist's stroke.

Of course, I have to consider that I've written a lot of prose, but I do in my heart think of myself as being originally, and still primarily, a poet.

Those books of mine that are remunerative - I'm not talking about poetry here - take years to write, and I am never sure they'll be successful. So writing is a risk in more senses than one.

Too many trees are killed to print the words of people who may not have all that much to say, and authors and journalists are equally culpable in this regard.

God save us from people who mean well.

For a writer, obsession is a good substitute for self-discipline.

Is it not love that knows how to make smooth things rough and rough things smooth?

And an equation is the same whether it's written in red or green ink

Think of many things. Never place your happiness in one person's power. Be just to yourself.

To not be able to love the one you love is to have your life wrenched away,

Behind every door on every ordinary street, in every hut in every ordinary village in this middling planet of a trivial star, such riches are to be found. The strange journeys we undertake on our earthly pilgrimage, the joy and suffering we taste or confer, the chance events that leave us together or apart, what a complex trace they leave: so personal as to be almost incommunicable, so fugitive as to be almost irrecoverable.

All you who sleep tonight Far from the ones you love, No hand to left or right, An emptiness above-- Know that you aren't alone. The whole world shares your tears, Some for two nights or one, And some for all your years.

Music, such music, is a sufficient gift. Why ask for happiness; why hope not to grieve? It is enough, it is to be blessed enough, to live from day to day and to hear such music-not too much, or the soul could not sustain it-from time to time.

Put your backbone where your wishbone is.

What is the difference between my life and my love? One gets me low, the other lets me go.

Don't put things off till it's too late. You are the DJ of your fate.

I certainly think its very important that writers as citizens - not necessarily as writers, but just as ordinary citizens - should talk about things that matter to them.

In life's brief game to be a winner A man must have...oh yes, above All else, of course, someone to love.

But I too hate long books: the better, the worse. If they're bad they merely make me pant with the effort of holding them up for a few minutes. But if they're good, I turn into a social moron for days, refusing to go out of my room, scowling and growling at interruptions, ignoring weddings and funerals, and making enemies out of friends. I still bear the scars of Middlemarch.

I sometimes seem to myself to wander around the world merely accumulating material for future nostalgias.

Boredom provides a stronger inclination to write than anything.

It's not the gods But our own hearts We need to fear. The evil starts Against all odds Not there but here.

Of course, the greater one's need, the greater one's propensity to be mesmerized.

Quietly they moved down the calm and sacred river that had come down to earth so that its waters might flow over the ashes of those long dead, and that would continue to flow long after the human race had, through hatred and knowledge, burned itself out.

And the process of reading is such a private one. I once came into a room where a friend of mine was reading one of my books, and he clicked his tongue impatiently and shooed me off.

All over India, all over the world, as the sun or the shadow of darkness moves from east to west, the call to prayer moves with it, and people kneel down in a wave to pray to God. Five waves each day - one for each namaaz - ripple across the globe from longitude to longitude. The component elements change direction, like iron filings near a magnet - towards the house of God in Mecca.

I recall drinking sherry in California and dreaming of England, where I ate dalmoth and dreamed of Delhi. What is the purpose, I wonder, of all this restlessness? I sometimes seem to myself to wander around the world merely accumulating material for future nostalgias.

My eyes close. I am here and not here. A waking nap? A flight to the end of the galaxy and perhaps a couple of billion light-years beyond?

Every object strives for its proper place. A book seeks to be near its truest admirer. Just as this helpless moth seeks to be near the candle that infatuates him.