Khaled Hosseini's Quotes

Whatever the readers feel when they're reading my books, I feel it tenfold when I'm writing it.

Writing for me is largely about rewriting.

A Western-style democracy in Afghanistan is a dream. I don't see that as a reality anytime soon. But I think some form of representative political process is not that far-fetched.

Afghanistan is a rural nation, where 85 percent of people live in the countryside. And out there it's very, very conservative, very tribal - almost medieval.

All stories I write are compulsive. Anything I've ever written was because I don't have a choice. I write stories because I can't wait to tell it, I can't wait to see how it ends.

American high school culture was impenetrable to me, and very cliquey: you had the Hispanics, the African Americans, the surfer guys and the goths and the immigrants. The jocks and the surfers got the girls. By the time I'd got to grips with it, I'd graduated.

Economic chasm between people is something that is of interest to me. And something that I used to write about even as a child. It's something I've revisited a few times in my writings.

Everyone is an ocean inside. Every individual walking the street. Everyone is a universe of thoughts, and insights, and feelings. But every person is crippled in his or her own way by our inability to truly present ourselves to the world.

For me as a writer, the story has always taken precedence over everything else. I have never sat down to write with broad, sweeping ideas in mind, and certainly never with a specific agenda.

I am always revolted when Islamic leaders, from Afghanistan or elsewhere, deny the very existence of female oppression, avoid the issue by pointing to examples of what they view as Western mistreatment of women, or even worse, justify the oppression of women on the basis of notions derived from Sharia law.

I don't outline at all; I don't find it useful, and I don't like the way it boxes me in. I like the element of surprise and spontaneity, of letting the story find its own way.

I don't think she is underappreciated, certainly not among writers, but Alice Munro is the classic underappreciated writer among readers. It is almost a cliche now to wonder why this living legend is not more widely read.

I entered the literary world, really, from outside. My entire background has been in sciences; I was a biology major in college, then went to medical school. I've never had any formal training in writing.

I find myself drawn to that period where children are about to leave childhood behind. When you're 12 years old, you still have one foot in childhood; the other is poised to enter a completely new stage of life. Your innocent understanding of the world moves towards something messier and more complicated, and once it does you can never go back.

I grew up in a society with a very ancient and strong oral storytelling tradition. I was told stories, as a child, by my grandmother, and my father as well.

I have met so many people who say they've got a book in them, but they've never written a word. To be a writer - this may seem trite, I realize - you have to actually write.

I lay no claim, it should be clear, to being a historian. So in my books, the intimate and personal have been intertwined inextricably with the broad and historical.

I remember reading 'The Grapes of Wrath' in high school in 1983. My family had immigrated to the U.S. three years before, and I had spent the better part of the first two years learning English. John Steinbeck's book was the first book I read in English where I had an 'Aha!' moment, namely in the famed turtle chapter.

I spent a lot of winters in my childhood flying kites with my brother, with my cousins, with friends in the neighborhood. It's what we did in the winter. Schools close down. There was not much to do.

I will say that there is an inordinate amount of medicine in my novels, especially the first one. There are a lot of medical things that happen. A hip fracture, three different kinds of lung cancer, pneumonia, blood poisoning, and so on.

I've been told, and I think I recognize it, that there's a cinematic quality to my writing, with a sense of image and place and scene - and, some would say, my tendency to finish my books the way Hollywood finishes its films.

In Afghan society, parents play a central role in the lives of their children; the parent-child relationship is fundamental to who you are and what you become and how you perceive yourself, and it is laden with contradictions, with tension, with anger, with love, with loathing, with angst.

In Afghanistan, you don't understand yourself solely as an individual. You understand yourself as a son, a brother, a cousin to somebody, an uncle to somebody. You are part of something bigger than yourself.

It's a very nice kind of quasi-fame being a writer, because you remain largely anonymous and you can have a private life, which I really cherish. I don't like to be in the public light all that much. I don't crave the whole fame thing at all.

Life just doesn't care about our aspirations, or sadness. It's often random, and it's often stupid and it's often completely unexpected, and the closures and the epiphanies and revelations we end up receiving from life, begrudgingly, rarely turn out to be the ones we thought.

My books are about ordinary people, like you, me, people on the street, people who really have an expectation of reasonable happiness in life, want their life to have a sense of security and predictability, who want to belong to something bigger than them, who want love and affection in their life, who want a good future for the children.