It was a good place for getting lost in, a city no one ever knew, a city explored from the neutral heart outward, until after many years, it defined itself into a jumble of clearings separated by stretches of the unknown, through which the narrowest of paths had been cut.
The first 50 years of the cinema were absolutely great years. Original minds were at work establishing the ways to tell a story. And what is happening now is a copying, a pastiche-ing of what was done by great men.
It has had a calamitous effect on converted peoples. To be converted you have to destroy your past, destroy your history. You have to stamp on it, you have to say ‘my ancestral culture does not exist, it doesn’t matter’.
Whatever extra there is in me at any given moment isn’t fully formed. I am hardly aware of it; it awaits the next book. It will – with luck – come to me during the actual writing, and it will take me by surprise
Some writers can only deal with childhood experience, because it’s complete. For another kind of writer, life goes on, and he’s able to keep processing that as well.
I became very interested in the Islamic question, and thought I would try to understand it from the roots, ask very simple questions and somehow make a narrative of that discovery.
The reason is that they define how I have gone about my business. I have trusted to intuition. I did it at the beginning. I do it even now. I have no idea how things might turn out, where in my writing I might go next.
It’s very attractive to people to be a victim. Instead of having to think out the whole situation, about history and your group and what you are doing. If you begin from the point of view of being a victim, you’ve got it half-made. I mean intellectually.
