>> From the Library of Congress in Washington, DC. ^M00:00:06 [ Applause ] ^M00:00:08 >> Bilal Qureshi: Good evening. It's really an honor to be here for the closing event of the National Book Festival with Sir Salman Rushdie. So, can we just give a round of applause for him before we begin. ^M00:00:17 [ Applause ] ^M00:00:21 Please, you should come up now and you can take a seat before-- Feel free to come up and take a seat. Do you want to take a seat now? OK. ^M00:00:29 [ Laughter ] ^M00:00:31 I'm going to make a brief introduction and then I'll look forward to speaking with you. But the [inaudible] against Salman Rushdie, one's threatened to silence, one of our generations most original, prolific and essential voices. Today, almost two decades after those dark years, Mr. Rushdie has not only not been silenced, he has published six more novels, a dazzling collection of essays, literary anthologies, and a screenplay. His latest novel is "Two Years Eight Months and Twenty-Eight Nights" and it-- which by the way is a thousand and one nights which he'll explain to us. And Salman Rushdie was born in 1947, weeks before the partition of India and Pakistan. >> Salman Rushdie: Forty-seven. >> Bilal Qureshi: Forty-seven, yeah. In the great cosmopolitan city of Bombay. He studied History at Cambridge University and worked in advertising. He published his first novel, "Grimus" in 1975 but it was his second novel, "Midnight's Children", that made him an international literary sensation. With the Booker Prize, he was crowned the voice of a new post-colonial generation, a writer capturing the journey of migration, globalization, and cultural transformation. I was born in the country where Mr. Rushdie's novels were explicitly forbidden and even mentioning his name considered an act of transgression. Fortunately, my parents moved. It was my privilege to be assigned "Midnight's Children" as a college student in the University of Virginia. The novel changed my life, everything about how I understood South Asia and my place within it. Most importantly, it introduced me to Mr. Rushdie as a writer, not a symbol or political football but as a creative, extremely funny, and brilliant artist. His latest novel takes his level of imagination and epic storytelling to new heights and it's really my honor to welcome Mr. Salman Rushdie back to Washington, DC. ^M00:02:14 [ Applause ] ^M00:02:23 So, I want to begin by asking you your last book before this was a book, many people would ask you to write for many years, your memoirs of what happened in those years, was it fun to return to fiction? >> Salman Rushdie: Yeah, it was a great relief. You know, I never became a writer to write about myself. When I started if you would said to me would I ever write an autobiography, I would have said absolutely not. And then I acquired an interesting life. ^M00:02:56 [ Laughter ] ^M00:02:59 You know, most writers' lives involved sitting in rooms for long periods of time. Anyway, I'd-- so I knew I was at some point have to tell that story. But once it was done, I think two things happen. One is that I had a real desire to be as fictionally fictional as possible after several years of trying to be completely nonfictional. And the other is I think that somehow the consequence of writing the memoir was as if I had put down a button and I felt sort of lighter. And I think this book, in a way, shows that. I think it has a kind of lightness in it which I think has been part of the consequence of having got the autobiography off my chest. >> Bilal Qureshi: And so, if I can say, I mean this is a-- almost an IMAX 3D spectacle of a set in New York City of a kind of Marvel Comic style war of the worlds. It's sort of how it reads when you first started. There's a lot of amazing things happening in this book. It's ultimate fantasy. >> Salman Rushdie: I hope movie studios are listening to you. ^M00:04:05 [ Laughter ] ^M00:04:07 >> Bilal Qureshi: But what can you tell us about the-- your version of "One Thousand and One Nights"? >> Salman Rushdie: Well, the "One Thousand and One Nights" was just a way of thinking about it. So, it doesn't really have any narrative connection with the "One Thousand and One Nights". It's just that kind of story. I mean one of the things I thought about all these so called Wonder Tales in the East, which is not just the "Arabian Nights". In India there're so many other collections. There's wonderful collection of animal fables, the "Panchatantra". And actually from Kashmir which is where my family is originally from, there's a very large story compendium originally in Sanskrit written by Somadeva called the "Ocean of the Streams of Story", Kathasaritsagara, which is actually longer than the "Arabian Nights". So, there are many of these things around and they were, in many ways, some of the first stories I heard and the first things I-- first literature that I fell in love with and originally heard them as children's bedtime stories. And when I grew up to read the actual books, it immediately struck me that these books are not written for children, you know, that the language in them is very complex and the ideas in them are very complex and they're clearly adult fiction. And that interested me in a different way. And so, after finishing the memoir, I thought in a way I found myself circling back to that kind of origin point of the place where my interest in literature had began. And I thought what can I do? Is there some way that I can use that kind of storytelling but to tell a contemporary story, you know, not to do something set in the Baghdad, the Harun al-Rashid or something, but something set in New York City now. And I also wanted to do another thing, which is that I'm also very interested in the kind of Western surrealist tradition. You know, and there are so many writers and so many different languages who have all written in a kind of non-naturalistic way. I mean, you know, you could say that Kafka is a magic realist, you know? And in Russia, Gogol and Bulgakov and then, of course, there's French surrealist and so on. And I've always been very interested in that. So I thought what would happen if I allow this Eastern tradition of the fantastic to collide with a Western tradition of the fantastic? And, you know, what would that look like? And I guess the answer is this book. >> Bilal Qureshi: And the results are genies invading New York City? >> Salman Rushdie: Yeah, that's the high concept. You know, in Hollywood-- in Hollywood you have to be able to say it in 10 words or less, that's high concept. >> Bilal Qureshi: OK. >> Salman Rushdie: So, high concept of this is, yeah, genies take Manhattan. ^M00:06:58 [ Laughter ] ^M00:06:59 Three words. >> Bilal Qureshi: But, you know, you said something interesting about while it's not obviously your version of "Arabian nights", it does have in common that storytellers are often central characters in your books. And then this one specially, it's not just the story of the book but there are many, many layers of stories within that story. And you said that you feel in the Western tradition, literature and storytelling became separated at some point. Can you just talk about that idea? >> Salman Rushdie: Well, there's-- there was a thing that happened in the-- I guess, and this is very simplifying it. >> Bilal Qureshi: Yeah. >> Salman Rushdie: But there was a thing that happened around 100 years ago in the Modernist Movement where people became so interested in form and language and, you know, doing new things with those that the narrative aspect became less significant, you know? And, I mean, one of the books I admired above almost all other books is Joyce's "Ulysses". And Joyce's "Ulysses" is crowded with stories. I mean, there's-- it's got stories on every page, but the actual narrative of the book, I mean, almost nothing happens, you know? Jewish advertising salesman walks around Dublin for that day, getting a little drunk, you know, lusting after girls on the beach, ends up in the red light district where he runs into a young writer who's also drunk and takes him home for a drink, and in the meanwhile his wife has been unfaithful to him. >> Bilal Qureshi: Right. >> Salman Rushdie: The end. >> Bilal Qureshi: The genie is. ^M00:08:41 [ Laughter ] ^M00:08:42 .>> Salman Rushdie: Yeah. And now, that's what you call a big narrative engine, you know? >> Bilal Qureshi: Yeah. >> Salman Rushdie: And yet, you know, his way of telling the story is so extraordinary that it becomes, you know, one of the greatest novels I've written. But I've always thought my way of thinking about it is that if you're going to build a big car, you should put a big engine in it, you know? And story is the engine. And I've always thought that there are a lot of books which are underpowered because they don't have that narrative drive. But in the-- You know, in the 18th century, the 19th century, in those great moments of the novel, the great writers never forgot to tell stories, you know? I mean, Dickens is crowded with stories and so as Thackeray. So, you know, all of those writers. So, I'm very interested in-- I see there's no reason at all why storytelling and literature should be separated from each other, and I think one of the things I've tried to do is to, you know, is to use stories of various-- as the driving force. >> Bilal Qureshi: And beyond the fantastical component, though, in this book, there is a deep philosophical war also playing out among two figures in the book who kind of actually the characters that we meet subsequently are almost "Midnight's Children" like figures who descend from these two original figures, which are actually historical figures from the Islamic history. Two philosophers with dueling visions of how to deal with the world. Can you talk about those two figures? ^M00:10:14 >> Salman Rushdie: Yeah. I mean, they would-- they were supposed to be really minor characters and they've kind of got out of control, and insisted on being more important. And originally, there was-- the book has this prologue in the 12th century, in Arab-controlled Spain, Andalucia. And I thought in this prologue, two things would happen. One is that one of the philosophers, the philosopher known in the West as Averroes, his real name was In Rushd from which my name derives, that he would have this fall in love with this girl who he didn't realize but she's actually a supernatural being, she's a jinn princess. And they have children. A lot of children, sometimes 19 at a time, and yet he's so self-absorbed that he doesn't realize that she might be something a little out of the ordinary. So, that's one thing and the-- those children and the descendants of those children in our century become the main characters of the novel. And the other thing that was going to happen is that he would have this argument with this other philosopher. And Ibn Rushd was very-- in his time, a very progressive-minded philosopher who was the greatest-- perhaps the greatest ever commentator on the works of Aristotle and was a great deliverer in Aristotelian virtues of reason and logic and scientific method. And what he wanted to do was to incorporate those things into Islamic philosophy. And against him was the figure of Al-Ghazali who was a much more conservative thinker, you know? And that argument in a way is still going on. And I think that's why they ended up not shutting up when they died in my book. Unusual for people to go on arguing 900 years after they die but that's sort of what happened. Because I began-- Once I had that argument going on in the book, in this prologue, I thought-- A, I thought they were too much fun to dump and I thought I was kind of enjoying them too much. And B, I thought in a way, this argument is still continuing. And so, I wanted to think-- then I thought but how do I allow them to go on having the argument when they're dead? And the answer is, of course, fiction lets you do a lot of things. And, you know, ghosts can have arguments too. And so, they become this sort of motif that crops up-- I mean, they're still secondary characters but they now crop up a few times. >> Bilal Qureshi: And the war of the worlds as described in the book is a war between the age of-- between reason and unreason as you described it. >> Salman Rushdie: Yeah. Well, what the book suggests is that the book begins or the modern part of the book begins with a huge storm, a kind of super Hurricane Sandy. And this storm, it suggests it's so powerful that it breaks open the seals which separate our world form the world of these supernatural beings, the jinn. And the jinn pour through the cracks. And some of them are really very bad and wanted to take over. And they're very powerful. One of them-- They also can become very large. One of them eats the Staten Island Ferry at one point. >> Bilal Qureshi: I really like, by the way, you did a TV interview where you were riding the Staten Island Ferry describing what it would feel like to be eaten on it. >> Salman Rushdie: Yeah. >> Bilal Qureshi: Yeah. >> Salman Rushdie: Yeah, I mean, actually with Jeff for PBS who I saw today, we were reminiscing about how we failed to be eaten off the Staten Island Ferry. But anyway, so the dark jinn, you know, invade the world. And they have enormous power so they can take over the control of minds of many people and so on. And then Dunia who is the good jinn, the princess with whom Ibn Rushd that had all these children, kind of returns to the world to try and save the world, to try and save her children. And so there's this war. And one of the things that is really quite strange, is that when I started writing this book, which is now-- I mean, it's close to five years ago that I'd started writing it and nobody had ever heard of ISIS, you know what I mean? That time, Isis was the name of an Egyptian goddess. And that was all. And so, when I started describing this war taking place in, you know, in what the novel calls Mesopotamia but we what we know better as Iraq, there was no such war taking place. And then just as I was getting to the end of the novel, you know, it started happening. And that was alarming. I would like my books to stop coming through. >> Bilal Qureshi: I mean, but given the memoir that you just written and the fact that we-- you know, you've had a history with religion. And have you found that exploring it in fiction presents-- or did you mean to explore sort of a debate internally within religion and forces of secularism or-- >> Salman Rushdie: I mean, yeah, it's one of the things that happens in the book, but I think there's something sort of under that. And the book has-- there's a frontispiece to the book, this famous etching of Goya's which is known as the sleep of reason brings forth monsters. But what is interesting is in his commentary, on that picture, he said something more complicated. When you look at the picture, you think what you are being told is that reason is good and unreason is bad, you know? But in his commentary, he said something more nuanced, if you like. He says that when reason and fantasy come together, then-- I mean, to paraphrase, then they become a great creative force and they're the parents of the arts and so on. But when they're torn apart from each other, it's when the kind of monstrous aspects begin to emerge. So, I really took that as my cue to say I want to write about a world which is not just opposing these two forces but trying to say that when they come together, they are creative and when they're taken apart, they're destructive. So, you know, the novel begins with a man of reason falling in love with a creature of fantasy and their union produces all these children who become the novel, if you like. So, they're-- that's sort of, in a way, shows the creative force of the union of these things. And then there's this war which is an illustration of the opposite, you know? So, it's trying to say both those things. And yes, of course, one of the ways it says it is to talk about what we all know to be going on in the world right now, you know? And as I said, I wanted it to feel like a contemporary novel. I wanted people reading the novel to be able to hear echoes with the modern world, you know? I mean, the period of the novel is-- I mean I thought of it as being set in New York like "The Day After Tomorrow", you know? Because I didn't want to worry about who the mayor was, you know? I mean, actually, the mayor of New York in the novel is a woman which is not actually the case, unfortunately, but it's other than that kind of detail, it really is supposed to be the city as it is now, but in which very strange things have started happening. And I-- in the novel it's called "The Time of the Strangenesses". >> Bilal Qureshi: Right. >> Salman Rushdie: And I kind-- And even though the strangenesses in the novel, a kind of surrealist strangenesses, really, I think we live in that time. I think we live in a time in which the rate of transformation and the radical nature of transformation, you know, both-- the world is changing both very extremely and at very high speed. And that strangeness, that alienation that I think many of us would consequently feel is kind of the mood in which the book is set. >> Bilal Qureshi: And then you've stopped tweeting recently because you were tweeting quite a bit? >> Salman Rushdie: Yeah, I'm not doing it. I'm done. >> Bilal Qureshi: OK. >> Salman Rushdie: Yeah. >> Bilal Qureshi: And why are you done? >> Salman Rushdie: I don't know. It's-- You know, sometimes, you wake up in the morning and you look to your right and there's somebody sleeping there and you think I don't love you anymore. ^M00:19:13 [ Laughter ] ^M00:19:15 >> Bilal Qureshi: So that was Twitter feed. >> Salman Rushdie: Yeah. >> Bilal Qureshi: Yeah. >> Salman Rushdie: Yeah, that little blue bird. I thought, "I don't love you anymore." >> Bilal Qureshi: But it was you responding to a lot of the strangenesses around us. I mean, you've taken-- I mean, you have a pretty public view of one of our candidates for president and you were tweeting quite regularly? >> Salman Rushdie: Which one? ^M00:19:33 [ Laughter ] ^M00:19:34 I mean, the thing is I just-- I think it's very well-named Twitter. It is this kind of twittering noise in your ear. And there was just a moment of which I thought I don't want this noise in my ear anymore. And I just stopped. And I haven't missed it for a second, let's say. And I mean I've had to leave the account alive, because if I delete the account, somebody will cybersquat my name within five seconds and will then be tweeting as if they're me and I don't want that. So, the account is alive but I'm just stopping. Enough. I'm just going to do this old fashion thing. >> Bilal Qureshi: Write novels? >> Salman Rushdie: Writing books. Yeah. ^M00:20:17 [ Applause ] ^M00:20:19 >> Bilal Qureshi: You know-- >> Salman Rushdie: You know, I remember like a couple of years ago, Jonathan Franzen made a series of statements in which he expressed his dislike of social media. And at one point, he even said I don't know why Salman does it because I thought he was too smart for that. And then everybody tried to make a fight between him and me. But actually, you know, we get on very well. And I said-- I said, you know, I completely understand what he's saying. I understand not wanting that noise in your head when you're working. And I said I'm just trying this out, I'm trying it out to see what it is, you know? And I've now more or less come around to the Franzen position. I think I just-- I'm just going to do what I do, and I don't need all these peripheral things. >> Bilal Qureshi: But, I mean, you have-- But you have always-- I mean you have this incredible collection of essays that you publish step across this line which came out of a series of things that you were responding to from political events to world events. There was a really interesting talk you gave about news and the media, and the fact that, you know, we're all fiction writers now, you say. You say that we have characters in the news which are novelistic. And do you still feel that way? Do you see-- Do you look at sort of as you read the news, do you see now an age of fiction and nonfiction? >> Salman Rushdie: Well, I mean I think I'm not the first person to suggest that we live in a post-factual age, you know? But I think one of the presidential candidates is an expert with that, you know? And nobody cares, you know? I mean, he goes on TV and lies 25 times a day and nobody cares, it doesn't affect him. It's as if we've stopped being interested in whether things are true or not, you know? And Steven Colbert invented that wonderful word truthiness, you know? And we now live in the age of truthiness. You can say anything you wanted if it sounds kind of truthy. People will not actually worry about whether it's true, truthy is good enough. And that's very worrying, very worrying to live at a time when people have become detached from the idea that the truth is important. You know, speaking is a [inaudible] fiction, that's very important because we need to be able to tell the difference between truth and lies. That's my job. ^M00:22:53 [ Applause ] ^M00:22:59 >> Bilal Qureshi: You've also, though, have been quite critical of people on the left and have sort of a kind of culture of cultural relativity and relativism and political correctness, et cetera. And we're also living on the flip side, it seems to me, in the new of identity politics as well and of the question of representation and who speaks for whom and who's able to-- you know, you have this great line of beware of the new behalfism of people who's claimed to speak on behalf of a certain community, and yet it feels like on one side in the left, we're having a lot of debates about representation. And I wonder what you think of that? >> Salman Rushdie: Well, it's too big a question, really. I mean I think it is a very big question. And-- >> Bilal Qureshi: Yeah. >> Salman Rushdie: And it has a lot to do with the novel that I'm trying to write now. So-- >> Bilal Qureshi: OK. >> Salman Rushdie: -- you might have to-- >> Bilal Qureshi: OK. >> Salman Rushdie: We might have to come back in a couple of years. But I do think that-- you know, I'll just say one thing about it, which is that it seems to me that the thrust of a lot of contemporary identity politics is to ask us to define ourselves in increasingly narrow ways. We have to be very specific things, you know? That's true in politics, politics. It's true in gender politics. It's true in race politics. It's true everywhere. We are being asked to define ourselves more narrowly. And the trouble with that is that the more narrowly we define ourselves, the easier it is to find ourselves at odds with other people, you know, whereas one of the things that the novel as a form has always known is that human beings are very, very plural people. We are not singular, we are plural. And we are contradictory, you know? I mean, that's what's been famously said, you know, do I contradict myself? Very well, I contradict myself. And that's what the novel is like. It shows that a human character is not homogenous, it's heterogeneous and contradictory. So, you know, anybody in this room could probably make a couple of dozen statements that would be all of them would be equally a definition of identity. They could define themselves as, for example, tall or supporters of a certain baseball team or as the parents of their children or as people who do a certain kind of job or in terms of whatever their religious orientation or lack of it might be. I mean there's a whole range of things you can say about yourself. And all of them are true. And if you accept that you are all those things, then it becomes easier to find points of overlap with other people. You can have strong political disagreements with somebody but support the same football team. You know, you could-- it's just much easier. When you see human character as plural, it becomes much easier to see points of contact with other people. And the more you have to say, you know, I am Western, I am Muslim, et cetera, that's hard to create conflict, you know? And I think that's the problem with a lot of-- And it's not even in the West versus Islam. I mean in India right now, you know, the desire to push people into kind of narrow community definitions, you know, Hindu, Muslim, Sikh, whatever, is also creating conflict there. So, I worry about this whole area of identity politics because it seems to me, to not understand something very profound about human nature was that all identities are not singular, they are plural. And the novel has always known this. And it's one of the reasons I think why people should read novels because it tells them something that they're not hearing enough. >> Bilal Qureshi: And you've said it's the age of frontiers that we live in that it's the time to-- that the people-- you know, one of the sort of goals of your creative project has been to explore the idea of those who step across lines, those who don't see frontiers. >> Salman Rushdie: Yeah. And I'm the kind of opposite of I don't want to build walls. Let's put it that way. ^M00:27:16 [ Applause ] ^M00:27:21 Let alone get Mexico to pay for them. ^M00:27:24 [ Laughter ] ^M00:27:27 I would like somebody to ask him how, just how. Anyway-- >> Bilal Qureshi: But do you think-- >> Salman Rushdie: But I think the-- I mean, look, I'm a migrant, you know? >> Bilal Qureshi: Yeah. >> Salman Rushdie: I mean, I have spent my life bouncing across the world. And that started off in India-- long time in England, now, almost 20 years in America. And my life is being defined by that act of movement, you know? And I'm grateful for it and I think it's been something which has created the kind of artist that I have become. And I think on the hold, it was this age which is an age of migration, has been very enriching both for the communities to which migrants come and to the migrants who come to those communities. All you have to do is walk down the streets of any great city in the world now and you have the stories of the whole world bumping into each other on the streets and that's seems to me much richer than some kind of narrow pure culture. I'm on the hold in not a great fan of the idea of cultural purity. I think when people start talking about cultural purity, other people start dying, you know? I mean, Hitler was somebody who talked about cultural purity. I'm in favor of dirt, you know, cultural impurity. Let's have a lot of just stuff, dirt mixed in there. Then people first of all-- first of all, people tend to stay alive and that's probably good. >> Bilal Qureshi: So, the risk of asking another possibly too big a question, if novels are meant to show us how not to allow ourselves to be confined by that kind of purity, are artists in some way not addressing these questions enough? Are they not emphasizing this kind of multiplicity enough? Are there-- >> Salman Rushdie: No, no, no. No, I'm not going to say that. I mean, I-- >> Bilal Qureshi: Yeah. >> Salman Rushdie: You know, I think if we talk about the art of the novel, I think it's a very, very rich time in world literature for a start. I think it's a very rich time in American literature and precisely for this reason, which is that American literature has always been inspired by and enabled by migration. Eastern European Jewish migration, Italian migration, all of that has fed directly into the mainstream of American literature. ^M00:30:03 Now, in a generation much younger than mine, there are new American writers from really almost everywhere in the world. You know, there's Junot Diaz from the Dominican Republic, there is Jhumpa Lahiri from South Asia, there's Yiyun Li from China, there's Nam Le from Vietnam, there's, you know, any number of people coming from all over the world that they have their families coming from all over the world with different stories in their luggage, you know? And unpacking that luggage and allowing those stories to escape into American literature, you know, and become a part of American literature. And I think it has been incredibly enriching of this generation of American writers have. And I-- in a way, I was-- this book is in part inspired by those young writers because I thought I can do that, you know? I thought I've got stuff in my luggage, too. Maybe I should unpack that-- those suitcases and get out some of that stuff and throw it at the Chrysler Building and see what happens. And now, I genuinely think that this generation of new migrant stories arriving in American literature is one of the best things to happen to American literature for a long time. >> Bilal Qureshi: Well, it's interesting time for you to say that too because you've recently become an American citizen yourself? >> Salman Rushdie: Oh, yeah. I get to vote now. >> Bilal Qureshi: Yeah. ^M00:31:27 [ Applause ] ^M00:31:31 And so you are an American novelist? >> Salman Rushdie: Yeah, that's me. >> Bilal Qureshi: Yeah. >> Salman Rushdie: Yes. >> Bilal Qureshi: Right. >> Salman Rushdie: Amongst other things. >> Bilal Qureshi: Right. You've often written about your love of cinema and how the movies kind of made you a writer. And it was "The Wizard of Oz", specifically, is that right? >> Salman Rushdie: Well, I mean yeah, that was one. >> Bilal Qureshi: One. >> Salman Rushdie: But I mean, no, I just grew up-- you know, I grew up in Bombay. And Bombay is a city obsessed with the movies, obsessed with the movies. And so it's impossible to grow up there without having that in your bloodstream. And, I mean, I had people in my family who were in small ways involved in the movies. So, I mean, I have two aunts who acted in the movies and uncle who wrote screenplays, and so on and so. And the movies are everywhere. And yeah, "The Wizard of Oz" just had to-- I mean, I wrote a story-- I saw "The Wizard of Oz" and I wrote a story called, "Over the Rainbow", about a boy who finds the beginning of the rainbow and walks over it. Anyway, I thought it was pretty good. My father lost it. >> Bilal Qureshi: No. Salman Rushdie: Yeah. My father said you won't be able to look after it, I'll look after it. And then he lost it. And I thought, you know, "The Wizard of Oz" actually is to an extent, it's a story about the incompetence of adults. ^M00:32:43 [ Laughter ] ^M00:32:45 You know, Aunt Em and Uncle Henry can't save Toto from Miss Gulch. They're useless, you know? When Dorothy gets to the wizard, the wizard is useless. The wizard is a phony. Pay no attention to that man behind the curtain, you know? So, the grownups in the story are pathetic, and Dorothy has to become the adult in order to-- because of the incompetence of adults. So, the fact that my father lost my story about "The Wizard of Oz", it's completely appropriate to the theme of "The Wizard of Oz". But no, I mean, I think I was very lucky that when I was young-- when I was like in the years I was in college, I was in Cambridge from-- in the mid '60s, '65 to '68. I mean, there's a period from roughly speaking, the late 1950s to the early 1970s, which we now think of as the golden age of the sound cinema, you know? And it's very difficult to explain to people what it felt like when what we now think of as masterpieces with that week's new movie, you know? So, one week, it would be, you know, "La Dolce Vita", and the next week it would be a new Godard film and then a new Truffaut film and then a new Pasolini film and then a new Ingmar Bergman film and then a new Satyajit Ray film and then a new Luis Bunuel film. And week after week after week, this-- I mean, it was dazzling to go to the cinema. And I think I learnt at least as much in the movie theaters as I did in the library. There was this little theater in Cambridge called The Arts Cinema, which like everything else no longer exist and now it's a coffee shop. But I feel I got my education in that little room, you know, watching, you know, Godard's "Alphaville" and Traffaut's "Jules and Dim, and Ingmar Bergman's "The Seventh Seal" and Luis Bunuel's "Exterminating Angel", and so on, you know? And I think those-- those things have a colossal-- this book is in incredibly influenced by those films. >> Bilal Qureshi: And there's the golden-- so-called the golden age of television [inaudible]. Well, are you watching a lot of these series? >> Salman Rushdie: Oh, this, yeah. I mean, I'm interested. I'm interested because it's clear that this thing, this new form of the 60-minute drama series, there is something novelistic about it. The length of time you have available allows you to do what is difficult to do in films. It allows you to have time to develop a character, to have many different story lines. I mean, you think of something like "Game of Thrones", there's an unbelievable number of story lines in that. And I, you know, I wonder how people keep them all in their heads but it works, you know? So, there's something novelistic about this. And, yeah, I'm interested. >> Bilal Qureshi: But it isn't the novel, right? I mean you-- >> Salman Rushdie: I mean, no, nothing is the novel, the novel is the novel. >> Bilal Qureshi: Right, right. >> Salman Rushdie: You know? >> Bilal Qureshi: Right. >> Salman Rushdie: And one of the great things about the novel, you know, is that everything. Almost since the birth of the novel, people have been predicting the death of the novel, you know? And every single new thing that comes along is supposed to kill the novel. You know, radio is supposed to kill the novel, cinema, television, you know, the internet. Everything is supposed to kill the novel and yet, you know, the novel obstinately refuses to die. And I'll tell you why. It's because people like it. Things-- ^M00:36:35 [ Applause ] ^M00:36:38 I mean, very interesting what-- you know, the eBooks, they were supposed to kill the novel. So, they arrived, eBooks, and they went like a rocket, "voom", like that, you know? And everybody-- including everybody in the publishing industry panicked. And they got to about 17, 18% of the market and they completely plateaued. And now, they're actually dropping whereas the sales of this dinosaur of an object, the hardcover novel, sales are going up, you know? Our bookstores were getting out of business, now there's little indication that bookstores are beginning to open rather than close, you know? So-- ^M00:37:20 [ Applause ] ^M00:37:24 So, you know, here's this-- sometimes I had to go and give a talk at Google, you know, in Mountain View, California. And I said audience as big as this but entirely composed of 21-year-old techies. ^M00:37:41 [ Laughter ] ^M00:37:43 And, I mean, very smart kids. And I said to them, you know, this is a very remarkable piece of sophisticated hardware. I said, you know, if you-- what happens if you drop your laptop in the bath? It's screwed. So, if you drop that in the bath, it does not lose its data, you know? You just have to dry it out. >> Bilal Qureshi: Right. >> Salman Rushdie: What happens if you pour sand on a computer? Not good for it. So, you could read this stuff, this thing, you can read it in the bus, you can read it at the beach, you could read it in places where people like to read. Also, if you're in the beach and it's sunny and you look at your Kindle, the screen, you can't read the screen because it's too bright. >> Bilal Qureshi: Right. >> Salman Rushdie: This is not-- the text doesn't disappear in bright sunlight, you know? So, this is-- ^M00:38:41 [ Applause ] ^M00:38:43 This is actually more sophisticated, you know? >> Bilal Qureshi: Fantastic. >> Salman Rushdie: And also, it doesn't become obsolete. The thing about computers, which was supposed to be this wonderful new thing, is they become obsolete at incredibly high speed. What's a floppy disk? You know? If you have-- If 20 years ago, if you were saving your data on a floppy disk, you couldn't use it anymore, you know? This, 20 years ago, you could have a book that's 20 years old, you could still read it perfectly easily. It doesn't need to be translated into some other technology that will be obsolete in five year's time, you know? So, you see, this is most sophisticated. And that's why it survives. You know, you don't need all those they call them campuses, you know? >> Bilal Qureshi: Google-- >> Salman Rushdie: Google, Microsoft, all of that, they're called campuses. You don't need those places, you just need this-- you know, one person sitting in a room scribbling. >> Bilal Qureshi: Yeah. ^M00:39:44 [ Laughter ] ^M00:39:46 Well, I think we-- I'm sure many of you have many questions. So please, I think we should open this up to the audience. There are mic stands in both of the aisles. And yes, preferably questions and not statements would be great. ^M00:40:03 OK, yeah. >> Is that OK? OK. So, you said that in drawing the distinction between the person who sits down to write a novel and the person who takes to Twitter that there sort of needs to be truths so that the novelist can essentially make up a certain form of lies, right? So, in a world where truth and reality are becoming increasingly fictionalized, what is it that's left for the novelist to do or how are the fabrications of the novelist suppose to differ from the fabrications of the Twitter user or the spectacularized politician? >> Salman Rushdie: Well, it's a question, you know? There's no doubt. I mean, the answer is you got to deal with it, you know? I think what happens, is the world changes all the time and the novel has to change with it. And one of the things that's happened now, is that reality or what we consider to be reality has become very contested. There's isn't an agreement about what it is. You know, whereas, if you think about the great heyday of the novel, think about, you know, the 19th century novel, the 19th century realist novel, that was based essentially on the knowledge that the writer had, that the writer and the reader would basically have the same picture of the world. You know, they would basically see the world in the same way as being the same thing. And out of that agreement between the writer and the reader, came the realist tradition. You know, it's built on that agreement. But if you now live in a time in which reality has become incredibly contested and disputed and messed around with, it's very hard to write that kind of realist novel, because that agreement no longer exists, you know? So, you have to think of different forms. I mean, that's what I think many of us are wrestling with. >> Sir, thank you for being here. Might you be willing to mentor young people, perhaps through the Rolex Mentorship Program? I was wondering-- I know Anish Kapoor has participated, have you participated with that? >> Salman Rushdie: They never asked me. >> We'll make it happen then, OK. >> Salman Rushdie: I mean, they've-- every so often, I've been asked if I would be willing to be asked. ^M00:42:18 [ Laughter ] ^M00:42:20 It is a kind of meta-question, you know? And I have expressed a desire-- I have said that I would be willing to be asked and I would be willing to considering answering. ^M00:42:31 [ Laughter ] ^M00:42:33 >> I'm going to send an email back. >> Salman Rushdie: OK. But they actually never have asked me. I mean, I do-- You know, I do my bit of teaching and so on. I mean, I'm interested in the company of young smart minds, you know? And one of the things that's a great pleasure when I teach a little bit in-- at NYU. And to sit around with very smart people talking about very good books, feels like pleasure, you know, and then they give you money for it, so. ^M00:43:03 [ Laughter ] ^M00:43:04 >> I'm a smart young person and I would love to be in your company. You know, my question is a college student at a time of political correctness, social justice warriors, trigger warnings, professors who ask you to stop believing in the purest form of free speech and stop, you know, raising your voice and sharing your opinions because they're controversial. How does a student broaden their horizons and gain the most they can from the money they're paying to college? >> Salman Rushdie: Yeah. Well, you know, I'll take two things. One is that I dislike all of that, the list that you just made. But secondly, I would say I don't think it's as big a problem as it sometimes made out to be. You know, I've been teaching in the American Academy now for a very long time. I was teaching on and off at Emory College in Atlanta for 10 years. I'm now at NYU. And I have literally never, never had a student come up to me and expressed a desire for a trigger warning or safe space or any of these things. It's never happened. And so, I think if it were to happen, I would have a very clear answer, which is that a university is a place where exactly is a place where you must be exposed to ideas you have not had before and some of which, which you might not like. That's what you are there for. ^M00:44:41 [ Applause ] ^M00:44:46 And that the only safe space they can be in a university is to have-- is a safe space for ideas, not a safe space from ideas, you know? And if you can't stomach that, then maybe you shouldn't be at a university. Maybe you should be working at KFC or something, you know? Because, really, that's why people go to college, they go to college to have-- to learn how to think. And you cannot learn how to think unless you are exposed to thinking, which is not the thinking you already have. But as I say, that's-- you know, this is the debate that's happening a lot I know. And I know some instances which have been very difficult, but in my personal experience, I've never come across it. And certainly at NYU, I've been talking to my fellow members of the faculty. They don't come across it that much, you know? I mean, there are some very weird things which we all know because they've been in the newspapers. There was this event at Mount Holyoke College couple of years ago when at Mount Holyoke, they would, every year, do a production of stage reading of [inaudible] vagina monologues. And then couple of years ago, there was a protest, a protest from the left, by the way, against the play, this famous feminist text was criticized because it defined women as people with vaginas and therefore discriminated against women who did not have vaginas. And because of this, the production was canceled. Now, that's an example of where this identity politics things can go. But as I say, I don't think this is as huge an issue in my experience as people are making it, and maybe there's already a student backlash against it, you know, that students don't want it either, I hope. >> For you, what was the hardest aspect of storytelling to tackle, and how did you approach it? >> Salman Rushdie: Everything is hard. I mean, it's not easy, you know? If it was easy, everybody would do it. And that would be awful because then-- ^M00:47:03 [ Laughter ] ^M00:47:05 Well, look, the hardest thing is to say something interesting and the great gamble of writing is that you don't know if what you think is interesting will be interesting to anyone else. You know, I mean, I remember when I finished writing "Midnight's Children" all those years ago, I remember thinking to myself, you know, I think this is-- I think this is a good book, I thought. I had absolutely no-- Nobody knew who I was. I was completely unknown as a writer. And I was completely uncertain whether anybody would agree with my assessment of it, you know? I mean, I think it's a good book but supposing nobody else does, then what? And that's really the gamble of art, you know, is that you do this thing which when you're doing it feels like a very private act. You're sitting by yourself in a room for five years. It took me five years to write that book. And really, it's just you and the book that's all there is, you know? And then at the end of it, you send it out of the room and suddenly this private act becomes a public act, and you have to hope that somebody gets it, you know? And that's the-- I think that's the gamble and you just you never know if it's going to work. And when it works, it's pretty damn good. When it doesn't work, it's horrible. And I can't say more than that, really. I mean, it's the hardest thing I've ever tried to do writing but it's also the most rewarding. >> Since you brought up "Midnight's Children", I had a little bit of a question about that. You, of course, always talk about your debt to the authors that came before you and of course we see that very much in this novel. You bring up Gogol's "The Nose" I think is in there. And you're very comfortable it seems with referencing other authors. I was wondering about the end of "Midnight's Children", I read it and thought it sounded very much like the end of "Villette", only in reverse. And I wondered at all if that had come into your mind at all of reading it? >> Salman Rushdie: "Villette" of Charlotte Bronte? >> Mm-hmm. >> Salman Rushdie: Oh, no. No, that's actually-- I'm going to pretend that I knew that. ^M00:49:34 [ Laughter ] ^M00:49:37 So that next time anybody ask me that question, I'll say, oh, yeah, sure, Charlotte Bronte-- >> It sounded like the mirror like the opposite of it. >> Salman Rushdie: No, no, I know what you mean. I know what you mean but no, no. >> OK. >> Salman Rushdie: I mean alas. I wish I was smart enough to have thought of that. >> Thank you. >> Salman Rushdie: My favorite question of all time was when Midnight sort of first came out, I was at talking at a university in [inaudible]. ^M00:50:01 A young woman stood up and said-- she said, "Your novel, Mr. Rushdie, 'Midnight's Children', is a very long novel. I said, "Never mind, I'd read it through." ^M00:50:12 [ Laughter ] ^M00:50:15 I said my question for you is the following. She said, "Fundamentally, what's your point?" ^M00:50:20 [ Laughter ] ^M00:50:26 [ Inaudible Remark ] ^M00:50:27 Salman Rushdie: I've been trying to answer that ever since. >> Yes, I have a question not related so much for being a novelist but certainly literature. You recently espouse the memorization of poetry as a way of, you know, as a technique for teaching and being that I'm a schoolteacher, I'm fascinated by that. You know, we've gotten very far away from memorization of any kind and you just-- you basically refer to it as a lost art. You know, I happen to like Kipling and other forms of poetry but it doesn't matter. I mean, I've always just enjoyed that for my leisure. And when I was a young man, we did memorize things like the Gettysburg Address and whatnot and anything, you know, that we thought was about related to civics basically and even some dates. So, could you explain how that, you think-- you know, I know, you basically-- I think of you as an educator like I am obviously. And so I would like to hear your views on memorization of poetry. >> Salman Rushdie: Well, I mean I come from that generation where we were all asked to do it. And it's very annoying, you know? You know, when you're having to sit by yourself and try and memorize, you know, especially, when it's a poem you don't particularly like which at school it often is, you know? But the fact is that a lot of that poetry has still stayed with me, you know, and I still have it in my head as a way of thinking about things and I feel it's a real resource, you know? And not all of it is great poetry. I mean, I can still recite the whole of "The Walrus and The Carpenter", for example. Don't ask me, otherwise, I will. I just think it's a way of training the mind. First of all, it allows you to understand beauty in a way that you don't understand unless you have it at your fingertips, you know? If you have a poem there in your head for you to think about, you can appreciate it in a way that you don't on the page. When the page becomes irrelevant because it's inside you, that's a different sort of experience. And I just think it's an enriching experience, although I admit annoying. And children, young people very often complain about being asked to, you know, rote learning is something. And it's also unfashionable, which is its second great advantage. So, yeah, I mean, I think it's a good thing. And, I mean, I know everyone I know who spent their childhood being made to learn things speaks well of the experience, says that they are glad they did and that they feel happy to have those things in their head. And not everything stays in your head but, you know, some stuff does. And it's worth it, it's worth it, you know? It gives you a frame of reference which is broader than you would otherwise have. >> Bilal Qureshi: Thank you. >> Thank you for coming and thank you for asking such thoughtful questions. I don't have a question about literature per se but about the cultural purity thing. Why-- I'm curious to hear what you think is going to be the case for Indian writers in India, like what that environment will look like with the rise of the BJP, and especially like what's really been happening and all of what Modi is saying. And on top of that, like do you think we're going to see more self-censorship from writers in India or-- I'm just curious what you think. >> Salman Rushdie: You know, I really have to-- my problem is that I have not been to India since the Modi government took power. So, I'm looking from a distance, you know? And I've always been very suspicious of people who talk about India from a distance. So, I don't want to be the person doing it, you know? I mean, I'm very-- I was always an opponent of Narendra Modi from way back, you know, from when he was just running Gujarat. I think he is a very alarming figure and I think his government is a very alarming government. And I do think it's frightening for people, you know. Self-censorship, I can't tell. I mean, self-censorship seems to me to be the greatest crime that a writer can commit. I mean, if you feel that scared, then don't write. Nobody is asking you to write, you know? And if you-- if by writing, you could only write by saying something which is less than the truth, then, you know, for goodness' sake, save the trees, you know? There are plenty of good books around for us to read. We don't have to read second-rate books. I don't know if any writer to-- of my acquaintance who is too chicken to say what they think. But what I do know is that it is very frightening in India right now and there are lots of-- there's lots of bullying going on and lots of menaces. And I don't want to say more than that because I haven't been there, so I don't have that kind of boots on the ground knowledge of what's going on, but I'm very worried about it. >> Bilal Qureshi: Unfortunately, we probably only have time for one or two more questions so-- >> So, my question is about freedom of speech, about which you talked. So, some of your critics say that you are selective about talking about freedom of speech like you-- >> Salman Rushdie: That I'm what? Sorry? >> Like you are being selective about the freedom of speech. >> Bilal Qureshi: Selective. >> So, what do you say to that? >> Salman Rushdie: You'll have to say a bit more. >> So, I was saying like in India, you don't talk about how the international [inaudible] and they censor the media and all those things so you don't talk about that. Some of your critics say this. >> Salman Rushdie: Well, first of all, it's not required to talk about everything, you know what I mean? Freedom of speech is the right to speak about what you want you to talk about. And I'm not obliged to talk about anything. You know, I talk about the things I want to talk about. But the point I'm trying to make is that there is-- the value of this thing is that it is the freedom on which all other freedoms depend. If you don't have free expression, you don't actually have a free society, you know? So, that's why it's valuable. I mean, you may-- you know, people are completely free to disapprove of what I say or to disapprove of the things I don't talk about, fair enough, you know? That's not the point I'm making. I don't have to make a speech on every subject in the world in order to prove that I believe in free speech. I talk about what I want to talk about and let other people talk about what they want to talk about. That's the point. Does that answer your question? >> Yeah. >> Salman Rushdie: OK. >> Bilal Qureshi: I think we can probably take one last question. I'm sorry to everybody else who's in line. >> Good evening. A simple question perhaps provoking a non-simple answer, from where do you get your deepest inspiration? >> Salman Rushdie: Oh, yeah. There's a store. ^M00:58:03 [ Laughter ] ^M00:58:07 But you have to know the password. ^M00:58:11 [ Laughter ] ^M00:58:12 >> Very good, very good. >> Salman Rushdie: No. I mean, if I knew the answer to that question, I would have written a lot more books, you know? It's very difficult to say where a book comes from. And in my experience, it doesn't come in the same way twice. Every book comes in a different way. Sometimes you have a story line, sometimes you have a character, you know, sometimes, you have fragments that you gradually understand how they fit together. The great American novelist Joseph Heller who wrote "Catch-22" amongst his other books, used to say that what happened with him characteristically is that he would think of a sentence and he would know that that sentence contained another 200 sentences, you know? So that-- I mean, his second novel, something happened originally began with the sentence in the office in which I work, there are five people of whom I'm afraid. Then he knew how to write the book, you know? That happened to me once. That happened when I wrote "Haroun and the Sea of Stories", which I was having-- I mean, I was having some trouble with the tone of voice of that book, you know, of how to make it not too grownup for children and not too childish for grownups, you know? And then there was a day when I sat there and wrote the first sentence. You know, there was once in the country of Alif Bay, sad city, saddest of cities, a city so sad that they have forgotten its name. I thought, OK, now I know how to write the book. Literally, I wrote that sentence and it was like open sesame. >> Bilal Qureshi: Wow. >> Salman Rushdie: I thought, OK, got it. And so, yeah, it comes in many different ways. >> Thank you. >> Bilal Qureshi: Could we take one or two more questions or-- Is that OK? >> Salman Rushdie: Sure. Yeah. >> Yeah. >> Bilal Qureshi: Go ahead. ^M01:00:04 >> Salman Rushdie: Yeah. >> Bilal Qureshi: Oops. It's not [inaudible] the person asking the question. >> Salman Rushdie: Oh, yeah. No. >> OK. Oh, wow. First of all, I'd like to just say it's an-- such an honor for me to have a chance to ask you a question. So, thank you so much for being here. Second, since you talked about movies, I have a two-fold question. First, if you have one, what's your favorite Bollywood movie, and second, would you like to see some of your novels be made into movies or do you think they'll lose their essence while being made in movies? Thank you. >> Salman Rushdie: Well, you know, when I was growing up in Bombay, it was not called Bollywood. Bollywood is a more recent invention. We used to just call them Bombay Talkies, sometimes they were called movies. I like-- My favorite films all come from that old period. I like [inaudible], "Mr. 420" is one of my favorite films. And my favorite song, unsurprisingly, is the song about Bombay which is called "Bombay Meri Jaan", "Bombay My Darling", so. >> Bilal Qureshi: Great good. >> Salman Rushdie: This will mean only something to those of you-- >> Bilal Qureshi: And your novels as films? >> Salman Rushdie: Yeah. And my-- Well, "Midnight's Children" was made into film by the Indian-Canadian director Deepa Mehta, and I wrote the screenplay. And so I'm bias but I thought it was quite good. But one of the things I was interested in, in the finished film was that its tone of voice is rather different than the novel. I think the novel is funnier and sort of wilder than the film, but the film is much more directly emotional than the novel. And, I mean, I kind of like it that they have that difference, that the film really is Deepa's work, you know, responding to my work. And, so yeah, I like it. I mean, I would like all of them to be filmed but that doesn't seem to be a stampede. ^M01:02:23 [ Laughter ] ^M01:02:25 >> Hi. So, I come from the country of-- another country [inaudible] I believe a very-- your work unfortunately was not allowed to be read to the extent that we could go to jail or-- and/or be killed by mob. However, you know, my parents made the fortunate choice of not leaving that country and going off the black market and getting your books and going through the process, so that's just one point. So-- >> Salman Rushdie: No, I very well respect. >> -- given what's going on in this country, unfortunately, because all I think you may want to renew your roots a little bit. But my question to Mr. Rushdie, if I may, is regard-- as an international-- as a non-American, the candidate that you so dislike perhaps, from what he's saying, it seems, as a non-American, that he probably would be a lot more-- or a lot less interventionist than the usual lot, if you know what I'm trying to say, in terms of-- in holding the leaders of the area that I come from more accountable perhaps than the other candidates. I'm just curious what's your view from international perspective regarding the US elections? >> Salman Rushdie: Well, I think the only world leaders that I've heard Mr. Trump refer to with admiration are all dictators, you know? Putin, Assad, these are the people he likes. And I worry about that being a principle of foreign policy. But, you know, long before he intervenes in any country, he's going to intervene in this one. And I, at frankly, my worries begin right here at home. I cannot imagine a Trump-appointed Supreme Court which is, you know, which is what would happen. We'd have an extremely authoritarian Supreme Court for the rest of my life certainly for a generation. I'm unable to take Trump seriously as a candidate except as a figure of fear. So, it is my hope that he will be defeated, and so we will not have to have this conversation. >> Yeah. ^M01:05:05 [ Applause ] ^M01:05:08 >> Bilal Qureshi: We have some younger readers have a question for you and I want to give them the chance to ask you. >> Salman Rushdie: Yeah, yeah, yeah. >> Bilal Qureshi: OK. >> Salman Rushdie: OK, yes? >> Me and my sister were wondering, where'd you get the inspiration for "Haroun and the Sea of Stories"? >> Salman Rushdie: Well, part of it, my oldest son's middle name is Haroun. At the time the book came out, he was annoyed that I didn't use his first name. Now, I think he's quite relieved. And the book began because when he was a little boy, I used to tell him stories in the bath, when he was in the bath not bedtime stories with bath time stories. And I would pretend to him that the bath water contained the stories. So, I would dip a little cup in the bath water and pretend to take a sip and then tell him a story. So, I would-- I said, you know, I said that, you know, the bath is full of stories. And so, from that bath full of stories, it became a sea of stories. And that's-- really, it began with my son in the bath, that's how it started. Some of it comes out of Kashmir, because, like I said, it's where my family is from. The book is, I think, anyone who has any knowledge of Kashmir can see that the fictional country in the story is pretty clearly based on Kashmir. So, like that, that's all of it. Does that help? >> Bilal Qureshi: I-- >> Salman Rushdie: Yeah. >> Bilal Qureshi: I think we can take one last question. I'm sorry, but we have-- >> Hi. I read your book, "Joseph Anton", and about that very difficult period of time you went through when you were in hiding and your life was being threatened and you were actually separated from your son and your family, much of that time. And I just wondered what strength you were able to rely on from yourself to get through that period of time which was a long time, like 10 years. >> Salman Rushdie: More than 10 years, yeah. Well, I mean, I-- First of all, I was very fortunate and that I was surrounded by incredibly loyal friends and family. And had it not been for their strength, you know, I would probably have had much greater difficulty in surviving that experience. But I did fortunately have around me this circle of very brave and very loyal people, you know? And that was a great help. And then there's a thing, there's a thing which relates to this book, you know? And in this book, there are-- these are characters who are supposedly the descendants of the jinn and have a little bit of the jinn magic, you know, inside them, which when the crisis comes, when the great war comes, they discover that power within themselves that they're able to use to resist the attack against them. And what I was trying to say there is something that I learned in those years, which is I think many of us, many of us, maybe all of us, have within ourselves unsuspected strength, unsuspected reserves of strength that we in ordinary life have no need to call upon and we are maybe not even aware of. But in a time of crisis, whatever that crisis may be, you know, many of us face crises in our family, crises of health, crises all sort of things. And I think what very often happens is that when the crisis comes, we discover in ourselves the strength to face it, you know? And we surprise ourselves in our ability to resist whatever it is that's coming at us. And I certainly thought-- I mean, if you would ask me in-- at the beginning of that period, if you would say that's going to be like 11 years of your life and how-- what sort of shape do you think you're going to be in at the end, I would not have bet on myself to be in great shape, you know? But I, as I say, with the help of these-- the other people, I also found-- I think I found that I was more bloody-minded than I thought I was. I'd found that I had survival capacities which were greater than I'd believe I did, you know? ^M01:10:04 And as I say, I think that's not just me. I think that is a characteristic we have that when the crisis comes, we find in ourselves the resources to deal with it. And that's what I did, nothing else that many people do. >> Yes, I agree. Thank you. >> Salman Rushdie: Thank you. ^M01:10:20 [ Applause ] ^M01:10:26 >> Bilal Qureshi: And-- ^M01:10:28 [ Applause ] ^M01:10:31 >> Bilal Qureshi: And on that note, thank you so much for being here this evening and for the sea of stories that you've given us. I really appreciate it. Thank you. >> Salman Rushdie: OK. ^M01:10:39 [ Applause ] ^M01:10:41 >> This has been a presentation of the Library of Congress. Visit us at loc.gov.