You're gutless. It's how you were made. And that's not such a bad thing because your saving grace is that you've never lied to yourself about it. Not about that. Nothing wrong with cowardice as long as it comes with prudence. But when a coward stops remembering who he is... God help him.
Ultimately, my books are not about the politics, although the toil and the struggle and the wars in Afghanistan have a significant impact on the lives of my characters.
Interpretation
What this quote means
The quote emphasizes that the focus of the author's books extends beyond political themes, centering instead on the personal experiences of the characters affected by those events.
Khaled Hosseini reveals that while the struggles and wars in Afghanistan influence the narrative of his books, the true essence lies in the lives and personal stories of the characters he portrays. This suggests that literature often reflects societal issues, but its heart beats in the human experience and emotional journeys of its individuals rather than solely in political commentary.
Themes
In practice
Example use cases
During a book club discussion, this quote can be used to highlight the focus on character development in literature.
More from Khaled Hosseini
All quotes βThere was brotherhood between people who had fed from the same breast, a kinship that even time could not break. - Amir
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.
And that's the thing about people who mean everything they say. They think everyone else does too.
Perspective [is] a luxury when your head [is] constantly buzzing with a swarm of demons.
The desert weed lives on, but the flower of spring blooms and wilts.
Similar quotes
I found literary idols in Adrienne Kennedy, Nella Larsen, and Ntozake Shange, writers who'd dared to locate a sanctioned, forbidden space between white vulnerability and black invincibility.
In literature the ambition of the novice is to acquire the literary language; the struggle of the adept is to get rid of it.
My favorite literary heroine is Jo March. It is hard to overstate what she meant to a small, plain girl called Jo, who had a hot temper and a burning ambition to be a writer.
No literature is complete until the language it was written in is dead.
The problem with literature, with writing, is that it works sometimes in terms of correction of social ills. Other times, it just does not suffice.
Great literature cannot grow from a neglected or impoverished soil. Only if we actually tend or care will it transpire that every hundred years or so we might get a Middlemarch.