The idea of the sacred is quite simply one of the most conservative notions in any culture, because it seeks to turn other ideas - uncertainty, progress, change - into crimes.
Not even the visionary or mystical experience ever lasts very long. It is for art to capture that experience, to offer it to, in the case of literature, its readers; to be, for a secular, materialist culture, some sort of replacement for what the love of god offers in the world of faith.
Sometimes we feel we straddle two cultures; at other times, that we fall between two stools.
The history of a culture can be determined by its untranslatable words.
There is no alternative to the peaceful coexistence of cultures.
I remember when I was young, many cities in the Muslim world were cosmopolitan cities with a lot of culture.
My father decided that he was such a admirer of Ibn Rushd's philosophy, thinking that he changed the family name to Rushdie. I realized why my father was so interested in him, because he was really an incredibly modernizing voice inside our Islamic culture.
If the culture shifts, if people think differently about women, the art will shift, too. You can't ask art to make social change. It's not what it's for.
I reluctantly concluded that there was no way for me to help bring into being the Muslim culture I'd dreamed of, the progressive, irreverent, skeptical, argumentative, playful and unafraid culture which is what I've always understood as freedom.... Actually Existing Islam ... which makes literalism a weapon and redescription a crime, will never let the likes of me in.
The Koran was revealed at a time of great change in the Arab world, the seventh-century shift from a matriarchal nomadic culture to an urban patriarchal system.
Islam doesn't have to mean blind faith. It can mean what it always meant in your family, a culture, a civilization, as open-minded as your grandfather was, as delightedly disputatious as your father was.... Don't let the zealots make Muslim a terrifying word, I urged myself; remember when it meant family.
What I've always tried to find in my books are points at which the private lives of the characters, and also my own, intersect with the public life of the culture.
The act of migration puts into crisis everything about the migrating individual or group, everything about identity and selfhood and culture and belief. So if this is a novel about migration it must be that act of putting in question. It must perform the crisis it describes.
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