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.

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

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 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.

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.

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.