It's easy to set a story anywhere if you get a good guidebook and get some basic street names, and some descriptions, but, for me, yes, I am indebted to my travels to India for several of the stories.

I've seen novels that have grown out of one story in a collection. But it hasn't occurred to me to take any of those stories and build on them. They seem very finished for me, so I don't feel like going back and dredging them up.

I would not send a first story anywhere. I would give myself time to write a number of stories.

I've inherited a sense of that loss from my parents because it was so palpable all the time while I was growing up, the sense of what my parents had sacrificed in moving to the United States, and yet at the same time, building a life here and all that that entailed.

Relationships do not preclude issues of morality.

At 6:30, which was when the national news began, my father raised the volume and adjusted the antennas. Usually I occupied myself with a book, but that night my father insisted that I pay attention.

I've never had Internet access. Actually, I have looked at things on other people's computers as a bystander. A few times in my life I've opened email accounts, twice actually, but it's something I don't want in my life right now.

Interpreter of Maladies is the title of one of the stories in the book. And the phrase itself was something I thought of before I even wrote that story.

When I sit down to write, I don't think about writing about an idea or a given message. I just try to write a story which is hard enough.

I can't tell you exactly how I found it. It was just a process of writing a lot of stories and reading a lot of stories that I admired and just working and working until the sentences sounded right and I was satisfied with them.

The reactions haven't differed; the concerns have been different. When I read for a predominantly Indian audience, there are more questions that are based on issues of identity and representation.

On the screen I saw tanks rolling through dusty streets, and fallen buildings, and forests of unfamiliar trees into which East Pakistani refugees had fled, seeking safety over the Indian border.

For years, I sort of would try to write a story that somehow fit the title. And I don't think it happened for maybe another four years that I actually thought of a story, the plot of a story that corresponded to that phrase.

Some Indians will come up and say that a story reminded them of something very specific to their experience. Which may or may not be the case for non-Indians.

He told me he was working as an interpreter in a doctor's office in Brookline, Massachusetts, where I was living at the time, and he was translating for a doctor who had a number of Russian patients. On my way home, after running into him, I just heard this phrase in my head.

For that story, I took as my subject a young woman whom I got to know over the course of a couple of visits. I never saw her having any health problems - but I knew she wanted to be married.

It's easy to set a story anywhere if you get a good guidebook and get some basic street names, and some descriptions, but, for me, yes, I am indebted to my travels to India for several of the stories.

This story is based on a gentleman who indeed did... used to come to my parents' house in 1971 from Bangladesh. He was at the University of Rhode Island. And I was four, four years old, at the time, and so I actually don't have any memories of this gentleman.

You know, since the reviews have come out and people have reacted to it, I've realized that is in a sense what has happened. But as I was writing them, I didn't feel a part of any tradition. I think that would have been too overwhelming, in a sense.

Winning the Pulitzer is wonderful and it's an honor and I feel so humbled and so grateful, but I think that I'll think of it very much as the final sort of final moment for this book and put it behind me along with the rest of the book, as I write more books.

A lot of my personality was informed by feeling very different in the world I grew up in, feeling that I didn't fully belong, that my parents didn't belong.

A lot of my upbringing was about denying or fretting or evading.

All American fiction could be classified as immigrant fiction.

Almost any American can connect on some level to a family background of having come across some ocean. They say, 'My great-grandparents came from wherever... this is why we have this last name, why we do this thing at Christmas.' All the details get watered down but don't quite disappear.

American? Indian? I don't know what these words mean. In Italy, it is all about blood, family, where you come from. I'm asked where I am from. I'm from nowhere; I always was, but now I am happy knowing it.

As a child, I felt that the Indian part of me was unacknowledged, and therefore somehow negated, by my American environment and vice versa. Growing up, I was impatient with my parents for being so different, holding on to India the way they did, and always making me feel like I had to make a choice of which way I would go.

Books seem so much more - much more sacred to me, and more important and essential, than they were when I was young.

Even printed, on pages that are bound, sentences remain unsettled organisms. Years later, I can always reach out to smooth a stray hair. And yet, at a certain point, I must walk away, trusting them to do their work. I am left looking over my shoulder, wondering if I might have structured one more effectively.

From the beginnings of literature, poets and writers have based their narratives on crossing borders, on wandering, on exile, on encounters beyond the familiar. The stranger is an archetype in epic poetry, in novels. The tension between alienation and assimilation has always been a basic theme.

I always think first about the nature of the story. When I had the idea for 'The Namesake,' I felt that it had to be a novel - it couldn't work as a story.

I approach writing stories as a recorder. I think of my role as some kind of reporting device - recording and projecting.

I don't know Bengali perfectly. I don't know how to write it or even read it. I have an accent, I speak without authority, and so I've always perceived a disjunction between it and me. As a result, I consider my mother tongue, paradoxically, a foreign language.

I don't know why, but the older I get the more interested I get in my parents' marriage. And it's interesting to be married yourself, too, because there is an inevitable comparison.

I don't tackle major global events. I don't like to read about something - an event, a cataclysm - in fiction for the sake of reading it.

I feel as though I've gotten to a point where I don't really want to set a book in any real place ever again.

I feel my writing comes from a desire to... well, it's motivated by many things, but it's inherently a contradiction in that I'm writing for myself, and it's a very interior journey. On the other hand, I feel that writers do make that interior journey out of a desire to connect.

I feel partly American, but I have an ambiguous relation with both America and India, the only two countries I really know. I never feel fully one way or the other.

I feel that Italy's a country that's constantly looking out and constantly following what's happening in other cultural centers. What is being written in America, what is being published in England, what is being published in France. It's a culture that's always wanting to absorb and inform itself of other works, other writers, etc., etc.

I feel very grateful for the way I was brought up. I did not realise it then, but as I grew older and started writing and realised the material that was there was very strong, I felt very grateful that my life was complicated and that my identity was never clear but put me in a position that was always questioned.

I find it really liberating to be in a place where I am a foreigner in every way. I've lived with this all my life - this divide, this bifurcation. And in Italy, I don't feel it. There's none of that tension, only the expectation I place on myself to speak the language well. I find it relaxing. Something drops away, and I observe.

I had been learning Italian for years. I always loved Latin, but Italian is a living language; I'm writing in it now as well as reading it. It is so interesting delving further into language.

I have two young children, and I will say that motherhood is its own peak, just like in the process of writing: one climbs and is continuously moving with each book. Becoming a mother is the greatest connection I've ever felt to being spiritual.

I have very little choice. If I don't write, I feel dreadful. So I write.

I love Rome. I'm very happy there. I wasn't in New York.

I love stories. But I don't distinguish so much between a short story and a novel. Personally, when I sit down to read a novel or a Chekhov story, I'm seeking the same thing: I'm seeking that same rich portrayal of life in words.

I never want to deal with a book once I'm finished writing.

I realize that the wish to write in a new language derives from a kind of desperation.

I recently discovered the work of Giorgio Manganelli, who wrote a collection called 'Centuria,' which contains 100 stories, each of them about a page long. They're somewhat surreal and extremely dense, at once fierce and purifying, the equivalent of a shot of grappa. I find it helpful to read one before sitting down to write.

I speak English. I grew up speaking Bengali. This is the normal, the known, the obvious composition of who I am. Then there's Italian, this strange, other component of me that I've just created. It was a creative process just to learn the language, never mind to start expressing myself in it.