I wrote a novel about my family. What could go wrong?

All writers are thieves but when it comes to stealing from your own flesh and blood — that way danger lies writes Francesca Jakobi in The Financial Times


In the wedding photograph my grandmother is not quite smiling. She is wearing white from top to toe — the only one to do so; the bride wore turquoise — and clutching a small glass of wine. 

The snapshot was taken on the day my parents married in 1964. Gerdi was the mother of the groom. It was a bright summer’s day and London was swinging, but my grandmother looks guarded and anxious. 

It must have been hard for her, surrounded by her ex-husband’s relatives. She had had an affair during the second world war and lost custody of my father as a consequence. Their relationship never fully recovered, though it was plain to see that she adored him. She rang him most nights in the middle of supper, throughout my childhood. We’d chorus: “I wonder who that could be?” 

I’ve always been fascinated by my German Jewish grandmother. She was someone I loved deeply but never quite understood. I’d grown up hearing one side of the story: that she was weak and selfish, and had paid a heavy price for it. I wanted to know what might have led to the decisions she made. How could a loving mother walk out on her son? 

I used the black-and-white photograph as the basis of a story, imagining the wedding day from her point of view. The voice I wrote in was feisty and spiky, a million miles away from my shy, awkward grandmother. But it felt good to examine things from her perspective. It felt like I was giving her a hearing. 

It was only months later, as it grew into a novel, that I started to worry I’d been reckless. What I’d written was fiction, yet the story behind it was real. I was scared that it might expose my family when my instinct is always to protect them. The dirty linen one mustn’t wash in public was strewn across 300 pages. 

All writers are thieves. They steal material wherever they can find it: a grumpy exchange overheard on the bus, the spotty shoulders of a long-ago boyfriend. But stealing stories from your nearest and dearest — that way danger lies. The road is littered with feuds and disinheritances. If you loved your family, why would you risk it? 

My shelves are packed with books by writers who have taken that gamble, from AA Milne to Andrea Levy, Hanif Kureishi and Isabel Allende. Some reimagined a relative’s life, others used their offspring as a springboard to a whole new world. There’s an emotional truth at the heart of these books that attracts me. 

I have always wanted to write a novel. I had my first go when I was nine. It was four sheets of paper sewn together with crooked stitches. The title: When the Dead Cock Crowed. I don’t recall that much about the plot (it had something to do with time travel and poultry) but I remember the excitement of filling the pages with words, my vice-like grip on the felt-tip pen as I wrote in giant capitals “THE END”. 

That was the feeling I sought to recapture aged 25, when I tried to write “chick-lit”. It was 1997 and Bridget Jones was all the rage. I’d just come back from teaching English in Turkey and was unsure what to do with my life. It seemed I’d found the answer as I tapped away on my Canon Starwriter. Research? Who needs it. Plot? Just keep writing. I was propelled by the arrogance of youth. 

I hit 50,000 words before I ran out of steam. When I read the manuscript back, I was horrified by what I’d produced. First drafts are supposed to be rough, but this one was truly a stinker. I thank God that Turkish Delight never made it to the bookshops. 

The experience taught me just how difficult it is to write a novel and that making characters and events sound plausible is harder still. If I was going to devote that time and effort again, it had to be for something I believed in. 

I wanted an authentic tale, one that I felt qualified to tell. It took me until my late thirties to find what I was looking for. 

Right from the start my novel Bitter was a murky mix of fact and fiction. The protagonist had my grandmother’s name and the same loveless childhood in Germany. She lived in the same smart Swiss Cottage flat I remembered from countless visits. Her favourite restaurant, Luigi’s off Finchley Road, was one I had been to with Gerdi. 

But as I began to write, I realised I knew very little beyond the headline facts. My grandmother had been dead for almost a decade. In life, she rarely talked about the past and my father had been tucked away at boarding school. 

At first it felt strange to be making things up — it reminded me of playing with Barbie dolls — but the more imaginative leaps I made, the more natural it became. I wrote instinctively, mixing anecdotes with half-truths. I changed the protagonist’s name to Gilda (it had to have the same feeling as Gerdi) and that one small change was like cutting a tether; she took on a life of her own. 

Ambition is a peculiar thing: mine seemed to grow along with my word count. When I finally got to the end of the first draft, I thought I had something that could work. But along with that came my first serious doubts. I’d distorted the facts beyond recognition. My protagonist was an unlikeable woman with a life spinning out of control. Yet aspects of the story still belonged to my grandmother. I shuddered to think what she’d have made of it. 

I wasn’t the only one struggling to distinguish the truth. Shortly after I’d shown her the first draft, my mother recounted an anecdote about Gerdi and I realised it had come from the book. I told her I had made the story up, but she insisted it had actually happened. Perhaps it did. Perhaps I’d heard it at some point. Neither of us has any way of knowing. 

I returned to the manuscript and deleted several sections of it. I wrote the word “compassion” on a Post-it note and stuck it to my screen. The second draft was kinder, the characters more nuanced, the ending more hopeful. I added another layer of plot to push it further into fiction. 

As I set about the long process of trying to find an agent, I wondered whether to mention the family link. In the end I did. I wanted to show why I was the right person to write this particular story. And also, if I’m honest, I hoped it might be a selling point. 

When Lionel Shriver wrote her fifth novel, A Perfectly Good Family, she thought it might cause “a little aggro”. In fact, her brother refused to speak to her for two years. Writing more than a decade after the book’s publication, she warned: “Anyone considering writing fiction or a memoir that brushes even slightly against real-life family should take heed: think twice.” 

This is good advice, clearly. Even the most sensitive writers can cause unintended harm. AA Milne’s son Christopher was badly bullied at boarding school for his role in Winnie-the-Pooh. Isabel Allende’s relatives didn’t speak to her for several years after recognising themselves in her debut House of the Spirits. 

Some authors see such repercussions as part of the job description. Hanif Kureishi, whose 2003 film The Mother caused a serious rift with his sister, says his only regrets “are to do with quality”. Rachel Cusk, who was vilified for writing about motherhood and the breakdown of her marriage, has said “If you really care what people think of you . . . you’re never going to be a writer.” 

Yet most of the authors I know agonise about the possibility of hurting loved ones. A friend scrapped an entire manuscript because she was worried what her children would one day make of it. Another changed a crucial death scene because it was too close to what had happened to a relative. 

Andrea Levy shows that family stories need not be a source of conflict. Her novel Small Island came out of her father’s emigration to Britain from Jamaica on the Empire Windrush and her mother’s arrival six months later. The two main characters, Gilbert and Hortense, are named after her parents. In a piece for The Guardian, she said: “Small Island was a joy to write and those characters will stay with me forever. It became a work of fiction, but for me it still remains something of a family history too.” 

I asked my parents’ permission to write about Gerdi early on and both were supportive. When I speak to my mother now, she says she wasn’t worried at all. As a retired psychoanalyst, she knows the importance of telling stories. She trusted that I was writing from a place of love. I wasn’t trying to settle any scores. 

In fact, she rather wished that I was writing about her parents. She saw it as a way to somehow bring them back to life. I understand that. For a while it did feel like Gerdi was more present. I thought about her a great deal. We talked about her often at the dinner table. 

My father, it seemed to me, was not hugely interested. His childhood years were unhappy and he had no wish to return to them. But, aged 80, he had just completed a Masters in creative writing and I thought he understood where I was coming from. I spoke to him a bit about his mum. Neither of us expected my novel would be published. I showed him some passages along the way but he didn’t want to read it until it was a “proper book”. 

When I spoke to him for this article, he admits he’d had concerns about what I was doing. “I knew you didn’t know enough to write a decent memoir and I was worried you were going down the Hilary Mantel ‘faction’ route. I didn’t like the idea of you making things up to fill the gaps.”

Could I have written Bitter without my parents’ permission? Honestly, I don’t think so. It wasn’t just my grandmother’s archives I raided. The book is stuffed with family memories: my mother’s school dinners in the 1950s, my brother as a child learning chess with my dad, my nephew running as fast as he can through the autumn leaves, me hobbling across the stones to paddle in the sea at Brighton. 

I was nervous when I finally handed Dad a hardback copy. At first he said he was enjoying it. But Mum told me later that he was finding it quite upsetting. She thought chapters that touched on his early life had reminded him of a time he would rather forget. 

I rang him and he said it had captured something about his mother. It wasn’t Gerdi and yet somehow it was her — not the words, perhaps, but the underlying sadness. It was unsettling to see this period through the eyes of his daughter. I said he should stop reading it and he has. 

He’s since explained that he could never quite see it as fiction. To him Gilda is an imposter, pretending to be his mum. When he heard the actress in the audio version had a German accent, his response was immediate. “No. That’s wrong. Mum lost most of her accent.” 

I don’t doubt how proud he is, though. He took me out to lunch on publication day. As I got up to go to the ladies room, I saw him lean over to the strangers at the table next to us. Pointing in my direction, he said: “That’s my clever daughter.” 

Both my parents came to the launch party and my father thoroughly enjoyed himself. One of my friends mentioned a scene from the book that revolved around a small boy and some coffee cups. Dad told her: “That was me, you know.”

How Joseph Conrad foresaw the dark heart of Brexit Britain

From financial crises to the threat of terrorism, the works of the Polish-British author display remarkable insight into an era, like ours, of elemental change in a globalised world


Maya Jasanoff in The Guardian


A terrorist bombing in London, a shipping accident in southeast Asia, political unrest in a South American republic and mass violence in central Africa: each of these topics has made headlines in the past few months. But these “news” stories have also been in circulation for more than a century, as plotlines in the novels of Joseph Conrad, one of the greatest and most controversial modern English writers.

Conrad is known to most readers as the author of Heart of Darkness, about a British sea captain’s journey up an unnamed African river. And Heart of Darknessis known to many as the object of a blistering critique by the late Nigerian novelist Chinua Achebe, who condemned Conrad as “a bloody racist” for his degrading portrayal of Africans. It is right to call out the racism – and, for that matter, the orientalism, antisemitism and androcentrism – in Conrad’s work. But his dated prejudices, abhorrent though they are to readers today, coexist in his work with elements of exceptional clairvoyance.

The 100 best novels: No 32 – Heart of Darkness by Joseph Conrad (1899)



Today, more than ever, Conrad demands our attention for his insight into the moral challenges of a globalised world. In an age of Islamist terrorism, it is striking to note that the same author who condemned imperialism in Heart of Darkness(1899) also wrote The Secret Agent (1907), which centres around a conspiracy of foreign terrorists in London. In the wake of the 2008 financial crisis, it is uncanny to read Conrad in Nostromo (1904) portraying multinational capitalism as a maker and breaker of states. As the digital revolution gathers momentum, one finds Conrad writing movingly, in Lord Jim (1900) and many other works set at sea, about the consequences of technological disruption. As debates about immigration unsettle Europe and the US, one can only marvel afresh at how Conrad produced any of these books in English – his third language, which he learned only as an adult.

Conrad was born Józef Teodor Konrad Korzeniowski in 1857 to Polish nationalist parents in the Russian empire. He came of age in the shadow of imperial oppression; his parents were exiled for political activism. Both of them died under the stress, leaving Conrad an orphan at 11. For the rest of his life, he carried the scars of a youth traumatised by punishing authoritarianism, as well as what he considered a fatal, useless idealism.

 John Malkovich and Iman in the 1993 film adaptation of Heart of Darkness. The book has been criticised for its degrading portrayal of Africans. Photograph: Allstar

He travelled to France aged 16 to train as a sailor. For the next 20 years, he worked as a professional mariner, sailing to the Caribbean, Africa, southeast Asia and Australia. From the deck of a ship, he witnessed a transformation in the intensity of global interconnections. Conrad docked alongside oceangoing steamers that transported immigrants from Europe and Asia on a scale never seen before or since. He cruised over the transoceanic telegraph cables that moved news, for the first time in history, faster than people. Between voyages, he made his home in London, the centre of a global financial market that was more integrated during his lifetime than it would be again until the 1980s.

Based in England from 1878, Conrad learned English from scratch, became a proud naturalised British citizen and moved up the ranks of the merchant marine – an all-round immigrant success story. But he also witnessed the rise of xenophobia and nativism. A string of anarchist bombings and assassinations on the continent stoked suspicions of young foreign men – even though what terrorist bombings there were in 1880s Britain were committed by Fenians. Paranoia about anarchism, combined with antisemitism and fears about immigrants stealing British jobs, led to the passing of the 1905 Aliens Act, the first peacetime immigration restriction in British history.

By then, Conrad had left the sea and become a published author and a married father, living in Kent. He channelled his international perspective into a body of writing based overwhelmingly on personal experience and real incidents. A map of Conrad’s fiction looks strikingly different from that of his contemporary Rudyard Kipling, the informal poet laureate of the British empire. Conrad roamed across Asia, Africa, Europe and South America without setting a single novel in a British colony. Although he was a fervent British patriot – he believed that, of all the empires, Britain’s was the best – Conrad was acutely aware of the limits of British power. Nostromo predicts American ascendancy with chilling clarity. In the novel, a San Francisco mining magnate declares: “We shall run the world’s business whether the world likes it or not.”

‘It almost seems as if he wrote his fiction through a zoom lens pointed at the future’... Joseph Conrad. Photograph: Granger/REX/Shutterstock

Across his writing, Conrad grappled with the ethical ramifications of living in a globalised world: the effects of dislocation, the tension and opportunity of multiethnic societies, the disruption wrought by technological change. He understood acutely the way that individuals move within systems larger than themselves, that even the freest will can be constrained by what he would have called fate. Conrad’s moral universe revolved around a critique of the European notion of civilisation, which for Conrad generally spelled selfishness and greed in place of honour and a sense of the greater good. He mocks its bourgeois pieties in The Secret Agent; in Heart of Darkness, he tears off its hypocritical mask. In Lord Jim, he offers a compelling portrait of a flawed person stumbling to chart an honourable course when the world’s moral compass has lost its poles.

Conrad, a lifelong depressive, excelled at the art of the unhappy ending. Yet the essential ethical question of his work – how can one do good in a bad world? – transcends any character or plot. His novels stand as invitations for readers to seek happier answers for themselves.

While the British empire is gone and Kipling’s relevance has receded, Conrad’s realms shimmer beneath the surface of our own. Internet cables run along the sea floor beside the old telegraph wires. Conrad’s characters whisper in the ears of new generations of antiglobalisation protesters and champions of free trade, liberal interventionists and radical terrorists, social justice activists and xenophobic nativists. Ninety per cent of world trade travels by sea, which makes ships and sailors more important to the world economy than ever before.

Conrad brought to all his work the sensibility of a “homo duplex”, as he once called himself – a man of multiple identities. This gives his fiction a particular power for those of us trying to reconcile competing scales of value and beliefs. That Conrad failed to measure up to our moral standards of racial tolerance is a humbling reminder of how our own practices might be judged wanting in future.

It is especially poignant to read Conrad in the context of a post-Brexit Britain. One of Conrad’s most moving short stories, “Amy Foster”, describes the fate of an eastern European man named Yanko, who is shipwrecked on the shores of Kent. In the rural community into which he stumbles, he is rejected as an outlandish stranger by everyone except Amy, a simple farm girl. They fall in love, get married and have a baby boy – but when Yanko cradles his son with an eastern lullaby, his wife snatches the infant away. He falls ill, slips into his native language and dies of a broken heart. “His foreignness had a peculiar and indelible stamp,” wrote Conrad. “At last people became used to see him. But they never became used to him.”

In Lowestoft, where Conrad landed in Britain in 1878, there is a pub opposite the railway station called the Joseph Conrad – which is fitting, since Conrad recalled learning English by poring over newspapers in Lowestoft pubs. He would have been astonished to learn that Poles are now by far the largest foreign-born population in Britain. But Lowestoft voted heavily for Brexit and the Joseph Conrad is part of the pub chain JD Wetherspoon, whose chairman, Tim Martin, was a staunch supporter of leave. One can only wonder what reception a freshly arrived Konrad Korzeniowski would get there today.

On Demonetisation - The de-mon is in the details

As everybody knows, any criticism of demonetisation is both unpatriotic and anti-national.

Suresh Menon in The Hindu

As everybody knows, any criticism of demonetisation is both unpatriotic and anti-national. In any case, it has been a success — if you read the right newspaper editorial, watch the right television channel or listen to the bright folk from the country the U.K. magazine Private Eye calls Aslikhan.

There is a good reason economics isn’t an exact science. It tells us demonetisation is both an unmitigated disaster as well as a resounding success.

The demonetisers think it was the latter while it was the former for the demonetisees. The de-mon is in the details.

To fully understand the whole thing, here’s an analogy. Imagine India preparing to put a man on Mars. He-who-has-your-best-interests-at-heart then goes on national television to announce the three reasons for doing so: to prove that Mars is inhabited by Indians, to bring back all the gold stashed away there by people not sympathetic to his philosophy, and finally, to arrest all the fake Martians and throw them into jail on Jupiter.

Weeks later the objectives change. Now we are told that the mission is to bring back Matt Damon who has been left behind there by Hollywood.

“But that was a movie, all fiction,” cry the critics only to be told to shut up because, as everybody knows, critics are the ones who have stashed away the gold. To err is human, but to criticise is (see above) …

A few more weeks go by, and it is discovered there are no jails on Jupiter. With the flexibility that allows him to hide unseen behind a spiral staircase, the spokesman now tells us that the mission is a success, that we have achieved everything we set out to do and anybody who doesn’t believe that can go to Jupiter, our neighbouring planet.

A confused population (was it Mars or Matt? Is there gold on Jupiter? Can we tell a real Martian from a fake one?) continues to look for answers. Finally these arrive. In summary, we shouldn’t have gone to Mars, the objectives made no sense. We told you so.

“April Fool,” says the spokesman, “we were misquoted on live television. The following are the real reasons for going to Mars: to help India win the cricket series in Sri Lanka, to give the television channels something to fight about, and to give us a reason to return to earth. You can’t come back home without going away first. We have achieved all these targets. We are the greatest.”

One point two billion people suddenly remember their Keats: Was it a vision, or a waking dream? Fled is that November speech –Do I wake or sleep?

Did someone forcibly pull out from our pockets all those ₹1,000 currency notes? Were we told in various accents across the country that everything was being done for our own good, so shut up and queue up? Was this the face that launched a thousand slips? Perhaps the Mars trip is the real story and demonetisation the fictional one, who knows?

Sapiens - Yuval Noah Harari

Writing fiction is a prayer, a song: Arundhati Roy

Zac O'Yeah in The Hindu


Arundhati Roy opens her door and lets me in – into her kitchen. I wonder if I’ve knocked on the wrong door: the delivery entrance, perhaps? I quickly hand over the humble gift of fresh coffee beans I’ve brought her, on the assumption that all serious writers love coffee.

As we sit down around her solid wood kitchen table surrounded by funky chairs, I realize that the kitchen is the warm heart of her self-designed apartment in central New Delhi. Apart from long work counters, there’s a sofa, a bookshelf, a sit-out terrace with an antique-looking bench – altogether a place where one could spend a lifetime.

But right now she’s all over the world and is somewhat jet-lagged after having just flown in from New York. Following a bunch of interviews in town, she’s soon off again on a worldwide promotion tour for her new novel. The Ministry of Utmost Happiness is her first in two decades since the globally bestselling, Booker Prize-winning, The God of Small Things. It appears to be the literary happening of the decade and according to her publishers ‘it reinvents what a novel can do and can be’. I’ve started reading it and can say that it is a ruthlessly probing and wide-ranging narrative on contemporary India, written with a linguistic felicity that reminds me of Salman Rushdie’s classic Midnight’s Children. On the whole, it makes interviewing her an intimidating prospect. While she makes coffee, I rig up my electronic defences consisting of three audio recorders (two of which conk out during the interview) and a backup video camera. She looks on bemusedly and seems used to a barrage of microphones. We embark on a three-hour interview session. Excerpts:

Generations of new Indian writers have seen you as an inspiration, as someone who allowed them to dream that one could sit in India and write and then be read all over the world. How does your iconic status feel to you? Do you ever think about it?

Not really, because I am equally balanced by the kind of rage and craziness that I evoke. For me, I live inside my work. Although I must say that I was thinking at some time about writers who like to remain anonymous – but I’ve never been that person. Because, in this country it is important, especially as a woman, to say: “Hey! Here I am! I am going to take you on! And this is what I think and I’m not going to hide.” So if I have helped to give courage to anybody… to experiment… to step out of line… That’s lovely, I think it is very important for us to say: “We can! And we will! And don’t f*** with us!” You know, come on.


I’ve noticed that you don’t often appear at literary festivals. There are more than a hundred in India these days, and I’ve been to quite a few myself, but never met you before. Do you keep away from other writers?

It’s not about other writers. I don’t know if you’ve read this essay I wrote called Capitalism – A Ghost Story and Walking with the Comrades? The thing is that the Jaipur Literature Festival is funded by a kind of notorious mining company that is silencing the voices of the Adivasis, kicking them out of their homes, and now it is also funded by Zee TV which is half the time baying for my blood. So in principle I won’t go. How can I? I’m writing against them. I mean, it’s not that I’m a pure person, like all of us I have contradictions and issues, I’m not like Gandhiji, you know, but in theory I abide by this. How can you be silencing and snuffing out the voices of the poorest people in the world, and then become this glittering platform for free speech and flying writers all around the place? I have a problem with that.


Do you read a lot of new Indian fiction or non-fiction?

When I’ve been writing this book, I haven’t been very up on current things. I’m not even on Facebook and all that. I don’t have any problem [with it], but as Edward Snowden told me, the CIA celebrated when Facebook was started, because they just got all the information without having to collect it. That aside, I think that when you’re writing, you tend to be a bit strange about reading: sometimes I’m not reading whole books, I’m dipping into things to check my own sanity. ’ (She waves her left hand in a kind of elegantly psychedelic mudra before her face.) ‘Am I on the same planet?


Is there any particular Indian writer who you admire?

I think that Naipaul is a very accomplished writer, although we are worlds apart in our worldviews. But I’m not really that influenced by anybody, you know. I have to say that I find it incredible that writers in India, or almost all Indian writers, or at least the well-known writers… Let’s not say writers, but there’s been a level of eliding of things that have been at the heart of the society, like caste. You see there is something very wrong here. It is like people in apartheid South Africa writing without mentioning that there is apartheid.


Your writing is hard-hitting and outspoken – have you experienced any adverse repercussions?

My God, that’s to put it mildly. Other than of course going to jail and all that. Even now, when the last book of essays was released in Delhi, called Broken Republic, a gang of vigilantes came on stage, smashed the stage up. The right wing, the mobs, vigilantes, they are there at every meeting, threatening violence, threatening all kinds of things. I still go to speak, to Punjab, in Orissa, wherever, I’m not really that writer who is sequestered somewhere and I live perhaps alone, but in the heart of the crowd.


It must have been a bit of a shock, after expressing a personal opinion, to suddenly find yourself behind bars in Tihar Jail?

Tihar. (She sighs deeply.) Yes, it is shocking, but at the same time look at how many thousands of people are behind bars, people who have no understanding of the language, who don’t even know what they’re charged with. So I can’t really be dramatic about what happened to me, because people are in jail for years for nothing – nothing! It’s crazy! I’m currently being tried for contempt of court again for an essay I wrote called Professor P.O.W. which you can read in Outlook Magazine.


Have you ever felt that you should leave India and live in a country where you don’t have to face such problems?

Everything that I know is here! Everyone that I know! And I’ve never really lived outside, abroad, so the idea of going to live all alone in some strange country is also terrifying. But right now I think India is poised in an extremely dangerous place, I don’t know what is going to happen to anybody – to me or to anybody. There are just these mobs that decide who should be killed, who should be shot, who should be lynched, you know? I think it is probably the first time that people in India, writers and other people, are facing the kind of trauma that people have faced in Chile and Latin America. There’s a kind of terror building up here which we have not fully got the measure of. You go through periods when you are feeling very worried, then angry, and then defiant. I think this story is still unfolding.


Do you anticipate upsetting people with the new book? Though the mobs don’t read anything sophisticated, do they?

It’s never about the book or what they read or don’t read, it is about some arbitrary rules they have made about what can be said, what can’t be said, who can say what, who can kill whom – all of that. Yeah, I mean I live here, and I write here, and this book is about here. But the situation here is out of control, from the bottom! It is not about just getting killed, but it is about: How do you even sit in a train or a bus now if you are a Muslim without risking your life? So what happens with me, I have no idea. I’ve written a book and it’s taken me ten years to write it, and there are thirty countries in the world where the biggest publishers are publishing it. I’m not going to allow some idiots to come and disrupt it and snatch all the headlines. Why should I? It is not about their little brains, it is about literature. It has to be protected and tactically done in this climate.


Let’s talk about the book. What was it that made you publish a new novel after spending twenty years being a public intellectual?

Well, this novel has been ten years in the writing, but I think in the twenty years between The God of Small Things and now, I have travelled and been involved with so many things that are happening and written about them at length. There was this huge sense of urgency when I was writing the political essays, each time you wanted to blow a space open, on any issue. But fiction takes its time and is layered. The insanity of what is going on in a place like Kashmir: how do you describe the terror in the air there? It is not just a human rights report about how many people have been killed and where. How do you describe the psychosis of what is going on? Except through fiction.


So that is why you chose…

But it is not that. I didn’t choose to write fiction because I wanted to say something about Kashmir, but fiction chooses you. I don’t think it is that simple that I had some information to impart and therefore I wanted to write a book. Not at all. It is a way of seeing. A way of thinking, it is a prayer, it is a song.


In the book you use a remarkably poetic language to talk about the harshest subjects.

Language is something so natural to you, you know, not something you can manufacture, not for me.

Having studied architecture, you must have at some point thought of that as your field, while today you are one of the most celebrated novelists on the planet. What does your interest in language stem from?

Actually, the idea of language was far before architecture, because in a way architecture came to me as a very pragmatic thing. I left home when I was seventeen and I needed somehow to…

(At this point one of her dogs climbs all over me. I’m more accustomed to dogs barking the moment they see me but, puzzlingly, this one appears to want to lick my face. Arundhati laughs.)

She’s flirting with you. They are both street dogs. She was born outside a drain. Then her mother was hit by a car. That other one I found tied to a lamppost, cruelly.


Do your dogs have names?

Yeah, her name is Begum Filthy Jaan and this one is Maati K. Lal. That means “beloved of the earth”. Both Lal and Jaan mean beloved.


So they make up your family?

Yes.


They’re very well behaved to be street dogs.

Street dogs are more civilized than other dogs. They’re the best. I’m also a bit of a street dog.


I see. So we were talking about your relationship with language and how you left home at 17.

The relationship with language was there from the time I was very, very young. The only thing is that it didn’t seem possible that I would ever be in a position to be a writer.


Why not?

No money… How are you going to earn a living? In the early years of my life my only ambition was to survive somehow, pay my rent. So it didn’t seem like there’d ever be that time where you could actually sit and write something but you’d be so busy earning. It was just a question of: How do you survive?


How did you survive then?

I used to work in this place called the National Institute of Urban Affairs where I earned almost nothing. I used to live in this little hole-in-the-wall near the Nizamuddin Dargah and hire a bicycle for one rupee a day to go to work. All my time I spent thinking about money. (She giggles.)


So at that point you were almost about to become a bureaucrat?

No, no, architect! I could never have become a bureaucrat.


But a government servant?

No, not even that. I was just a temporary, you know at the edges of it.


So then the writing really started with the film scripts?

Basically after Annie [In Which Annie Gives It Those Ones (1989)] – a film that just made its own secret little pathways into the world away from the big hit films – I wrote a second film called Electric Moon and then The God of Small Things. And after that, the essays.


And now you’re making a fiction comeback. Was there any particular idea or incident that triggered off the new book? It seems to be a meditation on the state of the nation.

(She takes a large sip of coffee and rubs her eyes.) ‘It’s a meditation, let’s say, just a meditation. Always, some things spark something and I think in my case I don’t think what sparks it is necessarily what it’s about. Obviously so many years of one’s life and thinking and encounters and all that… but I think one of those nights that I used to spend in front of Jantar Mantar with all these [protesters] who come there, a baby did appear and people were asking: “What to do?” Nobody was sure what to do. So that was one of the things.


I recall that sequence in the novel, and you also narrate many of the individual stories behind the characters you meet at Jantar Mantar?

That was one of the ideas for me that I would – experiment. As you can imagine with any writer who writes a “successful” book, then everybody wants to sign contracts and give you lots of money… and I didn’t want that. I wanted to experiment. I wanted to write a book in which I don’t walk past anyone, even the smallest child, or woman, but sit down, smoke a cigarette, have a chat. It is not a story with a beginning, middle and an end, as much as a map of a city or a building. Or like the structure of a classical raga, where you have these notes and you keep exploring them from different angles, in different ways, different ups, different downs.


About the first hundred pages of the book are set in Old Delhi. What is your relationship to that part of town?

I actually have a place there.


Near Jama Masjid?

Yes, a rented place, a small room, so I’ve been there for many years.


But why do you need that place when you have this apartment?

You sometimes feel under siege. It was not that I went there because I was going to write about it, but because I went there it became very much part [of the book]. I go there, wander around late at night.


All those rabid street dogs, they don’t chase you?

No. Not at all. Humans are rabid, dogs are okay.


The title is intriguing – The Ministry of Utmost Happiness – because inside the book there’s quite a lot of darkness.

But yeah, there’s also quite a lot of light. And the light is in the most unexpected places.


There’s also a character called Tilo, who seems to me very much like Radha in In Which Annie Gives It Those Ones. Is she a continuation of that character?

(She laughs.) She’s not actually like Radha when you carry on [reading]. Yeah, she’s in architecture school, but I think Tilo is a very different person actually.


But how much autobiographical detail do you use in your writing?

It is hard to say, because where does your imagination end and your experience begin? Your memories? It is all a soup. Like in The God of Small Things when Esthappen says, “If in a dream you’ve eaten fish, does it mean you’ve eaten fish?” Or if you’re happy in a dream, does it count? To me this book is not a thinly veiled political essay masquerading as a novel, it is a novel. And in novels, everything gets processed and sweated out on your skin, has to become part of your DNA and it is as complicated as anything that lives inside your body.


On that note, let me ask: in the years you worked on the novel, did you get tired of it at some point or were you happily engrossed in it for an entire decade?

When I write fiction I have a very easy relationship with it in the sense that I’m not in a hurry. Partly, I really want to see if it will live with me, you know, for long. If I got fed up with it, I would leave it and imagine the world would get fed up too. I need to develop a relationship with it almost like…(She goes quiet.)


Like with another human perhaps?

Or a group of humans. We all live together.


Nerdy question time – are there any rituals you have to go through like putting on a jazz record or uncorking a bottle of Old Monk before you start writing?

Let’s say when I was breaking the stones and really trying to understand what I was trying to do I would never be able to work for very long, just a few hours a day. There were two phases in writing this book, one was about generating the smoke, and then it’s like sculpting it, none of which is the same as writing and rewriting, or making drafts. But when you’re generating the smoke, it would be like – I could write three sentences and then just fall asleep out of exhaustion. But when the book was finally clear to me, I’d be working long hours. It was the same with The God of Small Things, there would be that single sentence which would send me to sleep. Like a strange trance almost.


Has your training as an architect been helpful to you?

Not just helped, it is central to the way I write.


How?

Because to me a story is like the map of a city or a map of a building, structured: the way you tell it, the way you enter it, exit it… None of it is simple, straightforward, time and chronology is like building material, so yeah, architecture to me is absolutely central.


I recall Vikram Chandra once telling me how he adapted a construction project management software, used by architects and builders to control the supply chains and all that, to plan and track all the elements in his novel Sacred Games. Do you – as an architect – plan your writing like that?

Oh God! There’s no algorithm involved in my writing, it is all instinctive… rhythm.


What’s a good writing day like then? You get up at five o’clock and take strong coffee or do you wake at three in the afternoon and pour yourself a glass of champagne before hitting the desk?

I don’t seem to have any rituals as such, it is just a very open encounter between me and myself and my writing. I don’t actually understand what we mean by “when you write” because I kind of wonder when am I not writing? I am always writing inside my head! But right now, I feel almost like if I weighed myself, I’d be half my weight, because the last ten years it’s just been in my head, all the time! At least now’ (she points at the book on the kitchen table) ‘it is with me, but it is not on the weighing scale. You know?


What do you do for inspiration?

You know, one of the reasons it would be so hard for me to leave this country, is that everywhere I turn there is something so deep going on. That way I’m lucky in terms of the worlds that I move through here whether it is in the Narmada Valley or in Kashmir. It is a very anarchic, unformatted world that I live in. To me, if anything it is an overload of every kind of stimulus. I suppose I’m not closed off in some family thing. There’s a porous border between me and the world and lots of things come and go. That’s the way I live. There are so many brilliant people doing things around me all the time, like even just in the process of making this book – if I want someone who is an insane … who’s actually not a human being, but a printing machine, I lean this way. If I want someone who is skulking around the city taking pictures, I lean that way. One is just surrounded by unorthodox brilliance all the time. And that’s my real inspiration. If I want really badly behaved dogs I have them too.(She laughs and hugs one of her dogs who is barking in the background, presumably impatient with our interviewing.)


Between writing fiction and non-fiction – which one gives you more pleasure or are they equally satisfactory?

No, there’s no comparison between them for me. Non-fiction is not about pleasure; non-fiction has a sort of urgency to it and another kind of intensity. But fiction is about pleasure. I know for some people it is very painful, but for me not.


What do you do then when you celebrate a good writing day or a well done story? Do you open a bottle of Old Monk?

(She bursts out laughing.)

You’re just stuck on your Old Monk! No, I… I think I just float around.

On Pakistan's historical hero - Muhammad bin Qasim

Lies, damn lies, and Fleet Street stories about Kevin Pietersen

by Maxie Allen in The Full Toss• June 11, 2014

For months now, most of the mainstream cricket press have patronised and belittled England supporters who’ve dared to question their line on Kevin Pietersen.

We’ve said that too many hacks are:

(a) Prejudiced against Pietersen.

(b) In hock to the ECB.

(c) Far too ready to accept the ECB’s anti-KP spin as gospel truth.

(d) Instead of asking proper questions, have just believed any old rubbish Paul Downton has told them off the record.

They’ve not liked it one little bit. “Keyboard ranters” is how Derek Pringle describes the likes of us bloggers and Tweeters. The fourth estate see us impudent, paranoid, deluded, and in the grip of conspiracy theories.

They say we should shut up and be grateful for their privileged insight into the real workings of English cricket. In their minds, we must accept that KP is a bad man because…because they say so. They know the inside track, goes the claim – although they couldn’t possibly divulge the details.

Unfortunately for Her Majesty’s Press, the whole charade has today blown up in their face. The edifice has collapsed.

Yesterday, Sun cricket correspondent John Etheridge boasted this exclusive:

EXCL – Kevin Pietersen so upset with England treatment that he has returned his 100th Test gifts http://t.co/ckdPsP6tVe

— John Etheridge (@JohnSunCricket) June 10, 2014

But there was a tiny problem: it was complete bollocks. As KP himself quickly made clear, by producing a photo of himself with the very presents he had supposedly forsaken. 

Kevin PietersenVerified account‏@KP24

LIES from @JohnSunCricket this morning! Who briefs you, John? Care 2 check ur facts instead of misleading the public? pic.twitter.com/jn5fH3mT0r

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11:41 pm - 10 Jun 2014

Caught red-handed, Etheridge had no option but a humiliating climb-down:

John Etheridge @JohnSunCricket

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@KP24 Was told categorically at Lord's yesterday that gifts were returned and in ECB offices. Weird - will investigate. Can only apologise.

8:46 AM - 11 Jun 2014

No word yet from Ethers about the progress of his inquiry – he’s not Tweeted since.

And Pietersen had another salient point to make:

Kevin Pietersen        ✔ @KP24

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2/2 @JohnSunCricket whoever is briefing the cricket press has an agenda...aren't you intelligent enough to have realised that by now?

9:56 AM - 11 Jun 2014

When Etheridge was presented with the strange claim about the gifts, why didn’t he ask KP for a response before publishing?

This story is surely just the tip of the iceberg. Remember, Etheridge was the chief hack behind the dossier tale – the absurd and as yet wholly unsubstantiated notion that the ECB had compiled a four-page document listing all Pietersen’s misdemeanours in Australia. He also reported vivid allegations about KP’s remarks in the near-mythical Melbourne team meeting.

Until he can convince us otherwise, we should assume that the ECB have repeatedly given Etheridge fictional stories about Pietersen, and he’s then obligingly printed them, verbatim.

And I bet you my house it doesn’t stop with the Sun man. This probably goes back years and has spread like a cancer across the entire mainstream press. Since 2009, where have all the anti-KP stories come from? ECB leaks, obediently served up as truth by the papers. For all we know, none of them at all were true.

But now the music has stopped. They’ve been caught with their hands in the cookie jar.

Why our future depends on libraries, reading and daydreaming

 

A lecture explaining why using our imaginations, and providing for others to use theirs, is an obligation for all citizens

• Neil Gaiman
• theguardian.com, Tuesday 15 October 2013 14.51 BST

'We have an obligation to imagine' … Neil Gaiman gives The Reading Agency annual lecture on the future of reading and libraries. Photograph: Robin Mayes

It's important for people to tell you what side they are on and why, and whether they might be biased. A declaration of members' interests, of a sort. So, I am going to be talking to you about reading. I'm going to tell you that libraries are important. I'm going to suggest that reading fiction, that reading for pleasure, is one of the most important things one can do. I'm going to make an impassioned plea for people to understand what libraries and librarians are, and to preserve both of these things.

And I am biased, obviously and enormously: I'm an author, often an author of fiction. I write for children and for adults. For about 30 years I have been earning my living though my words, mostly by making things up and writing them down. It is obviously in my interest for people to read, for them to read fiction, for libraries and librarians to exist and help foster a love of reading and places in which reading can occur.

So I'm biased as a writer. But I am much, much more biased as a reader. And I am even more biased as a British citizen.

And I'm here giving this talk tonight, under the auspices of the Reading Agency: a charity whose mission is to give everyone an equal chance in life by helping people become confident and enthusiastic readers. Which supports literacy programs, and libraries and individuals and nakedly and wantonly encourages the act of reading. Because, they tell us, everything changes when we read.

And it's that change, and that act of reading that I'm here to talk about tonight. I want to talk about what reading does. What it's good for.

I was once in New York, and I listened to a talk about the building of private prisons – a huge growth industry in America. The prison industry needs to plan its future growth – how many cells are they going to need? How many prisoners are there going to be, 15 years from now? And they found they could predict it very easily, using a pretty simple algorithm, based on asking what percentage of 10 and 11-year-olds couldn't read. And certainly couldn't read for pleasure.

It's not one to one: you can't say that a literate society has no criminality. But there are very real correlations.

And I think some of those correlations, the simplest, come from something very simple. Literate people read fiction.

Fiction has two uses. Firstly, it's a gateway drug to reading. The drive to know what happens next, to want to turn the page, the need to keep going, even if it's hard, because someone's in trouble and you have to know how it's all going to end … that's a very real drive. And it forces you to learn new words, to think new thoughts, to keep going. To discover that reading per se is pleasurable. Once you learn that, you're on the road to reading everything. And reading is key. There were noises made briefly, a few years ago, about the idea that we were living in a post-literate world, in which the ability to make sense out of written words was somehow redundant, but those days are gone: words are more important than they ever were: we navigate the world with words, and as the world slips onto the web, we need to follow, to communicate and to comprehend what we are reading. People who cannot understand each other cannot exchange ideas, cannot communicate, and translation programs only go so far.

The simplest way to make sure that we raise literate children is to teach them to read, and to show them that reading is a pleasurable activity. And that means, at its simplest, finding books that they enjoy, giving them access to those books, and letting them read them.

I don't think there is such a thing as a bad book for children. Every now and again it becomes fashionable among some adults to point at a subset of children's books, a genre, perhaps, or an author, and to declare them bad books, books that children should be stopped from reading. I've seen it happen over and over; Enid Blyton was declared a bad author, so was RL Stine, so were dozens of others. Comics have been decried as fostering illiteracy.

 No such thing as a bad writer... Enid Blyton's Famous Five. Photograph: Greg Balfour Evans/Alamy

It's tosh. It's snobbery and it's foolishness. There are no bad authors for children, that children like and want to read and seek out, because every child is different. They can find the stories they need to, and they bring themselves to stories. A hackneyed, worn-out idea isn't hackneyed and worn out to them. This is the first time the child has encountered it. Do not discourage children from reading because you feel they are reading the wrong thing. Fiction you do not like is a route to other books you may prefer. And not everyone has the same taste as you.

Well-meaning adults can easily destroy a child's love of reading: stop them reading what they enjoy, or give them worthy-but-dull books that you like, the 21st-century equivalents of Victorian "improving" literature. You'll wind up with a generation convinced that reading is uncool and worse, unpleasant.

We need our children to get onto the reading ladder: anything that they enjoy reading will move them up, rung by rung, into literacy. (Also, do not do what this author did when his 11-year-old daughter was into RL Stine, which is to go and get a copy of Stephen King's Carrie, saying if you liked those you'll love this! Holly read nothing but safe stories of settlers on prairies for the rest of her teenage years, and still glares at me when Stephen King's name is mentioned.)

And the second thing fiction does is to build empathy. When you watch TV or see a film, you are looking at things happening to other people. Prose fiction is something you build up from 26 letters and a handful of punctuation marks, and you, and you alone, using your imagination, create a world and people it and look out through other eyes. You get to feel things, visit places and worlds you would never otherwise know. You learn that everyone else out there is a me, as well. You're being someone else, and when you return to your own world, you're going to be slightly changed.

Empathy is a tool for building people into groups, for allowing us to function as more than self-obsessed individuals.

You're also finding out something as you read vitally important for making your way in the world. And it's this:

The world doesn't have to be like this. Things can be different.

I was in China in 2007, at the first party-approved science fiction and fantasy convention in Chinese history. And at one point I took a top official aside and asked him Why? SF had been disapproved of for a long time. What had changed?

It's simple, he told me. The Chinese were brilliant at making things if other people brought them the plans. But they did not innovate and they did not invent. They did not imagine. So they sent a delegation to the US, to Apple, to Microsoft, to Google, and they asked the people there who were inventing the future about themselves. And they found that all of them had read science fiction when they were boys or girls.

Fiction can show you a different world. It can take you somewhere you've never been. Once you've visited other worlds, like those who ate fairy fruit, you can never be entirely content with the world that you grew up in. Discontent is a good thing: discontented people can modify and improve their worlds, leave them better, leave them different.

And while we're on the subject, I'd like to say a few words about escapism. I hear the term bandied about as if it's a bad thing. As if "escapist" fiction is a cheap opiate used by the muddled and the foolish and the deluded, and the only fiction that is worthy, for adults or for children, is mimetic fiction, mirroring the worst of the world the reader finds herself in.

If you were trapped in an impossible situation, in an unpleasant place, with people who meant you ill, and someone offered you a temporary escape, why wouldn't you take it? And escapist fiction is just that: fiction that opens a door, shows the sunlight outside, gives you a place to go where you are in control, are with people you want to be with(and books are real places, make no mistake about that); and more importantly, during your escape, books can also give you knowledge about the world and your predicament, give you weapons, give you armour: real things you can take back into your prison. Skills and knowledge and tools you can use to escape for real.

As JRR Tolkien reminded us, the only people who inveigh against escape are jailers.

 Tolkien's illustration of Bilbo's home, Bag End. Photograph: HarperCollins

Another way to destroy a child's love of reading, of course, is to make sure there are no books of any kind around. And to give them nowhere to read those books. I was lucky. I had an excellent local library growing up. I had the kind of parents who could be persuaded to drop me off in the library on their way to work in summer holidays, and the kind of librarians who did not mind a small, unaccompanied boy heading back into the children's library every morning and working his way through the card catalogue, looking for books with ghosts or magic or rockets in them, looking for vampires or detectives or witches or wonders. And when I had finished reading the children's' library I began on the adult books.

They were good librarians. They liked books and they liked the books being read. They taught me how to order books from other libraries on inter-library loans. They had no snobbery about anything I read. They just seemed to like that there was this wide-eyed little boy who loved to read, and would talk to me about the books I was reading, they would find me other books in a series, they would help. They treated me as another reader – nothing less or more – which meant they treated me with respect. I was not used to being treated with respect as an eight-year-old.

But libraries are about freedom. Freedom to read, freedom of ideas, freedom of communication. They are about education (which is not a process that finishes the day we leave school or university), about entertainment, about making safe spaces, and about access to information.

I worry that here in the 21st century people misunderstand what libraries are and the purpose of them. If you perceive a library as a shelf of books, it may seem antiquated or outdated in a world in which most, but not all, books in print exist digitally. But that is to miss the point fundamentally.

I think it has to do with nature of information. Information has value, and the right information has enormous value. For all of human history, we have lived in a time of information scarcity, and having the needed information was always important, and always worth something: when to plant crops, where to find things, maps and histories and stories – they were always good for a meal and company. Information was a valuable thing, and those who had it or could obtain it could charge for that service.

In the last few years, we've moved from an information-scarce economy to one driven by an information glut. According to Eric Schmidt of Google, every two days now the human race creates as much information as we did from the dawn of civilisation until 2003. That's about five exobytes of data a day, for those of you keeping score. The challenge becomes, not finding that scarce plant growing in the desert, but finding a specific plant growing in a jungle. We are going to need help navigating that information to find the thing we actually need.

 Photograph: Alamy

Libraries are places that people go to for information. Books are only the tip of the information iceberg: they are there, and libraries can provide you freely and legally with books. More children are borrowing books from libraries than ever before – books of all kinds: paper and digital and audio. But libraries are also, for example, places that people, who may not have computers, who may not have internet connections, can go online without paying anything: hugely important when the way you find out about jobs, apply for jobs or apply for benefits is increasingly migrating exclusively online. Librarians can help these people navigate that world.

I do not believe that all books will or should migrate onto screens: as Douglas Adams once pointed out to me, more than 20 years before the Kindle turned up, a physical book is like a shark. Sharks are old: there were sharks in the ocean before the dinosaurs. And the reason there are still sharks around is that sharks are better at being sharks than anything else is. Physical books are tough, hard to destroy, bath-resistant, solar-operated, feel good in your hand: they are good at being books, and there will always be a place for them. They belong in libraries, just as libraries have already become places you can go to get access toebooks, and audiobooks and DVDs and web content.

A library is a place that is a repository of information and gives every citizen equal access to it. That includes health information. And mental health information. It's a community space. It's a place of safety, a haven from the world. It's a place with librarians in it. What the libraries of the future will be like is something we should be imagining now.

Literacy is more important than ever it was, in this world of text and email, a world of written information. We need to read and write, we need global citizens who can read comfortably, comprehend what they are reading, understand nuance, and make themselves understood.

Libraries really are the gates to the future. So it is unfortunate that, round the world, we observe local authorities seizing the opportunity to close libraries as an easy way to save money, without realising that they are stealing from the future to pay for today. They are closing the gates that should be open.

According to a recent study by the Organisation for Economic Cooperation and Development, England is the "only country where the oldest age group has higher proficiency in both literacy and numeracy than the youngest group, after other factors, such as gender, socio-economic backgrounds and type of occupations are taken into account".

Or to put it another way, our children and our grandchildren are less literate and less numerate than we are. They are less able to navigate the world, to understand it to solve problems. They can be more easily lied to and misled, will be less able to change the world in which they find themselves, be less employable. All of these things. And as a country, England will fall behind other developed nations because it will lack a skilled workforce.

Books are the way that we communicate with the dead. The way that we learn lessons from those who are no longer with us, that humanity has built on itself, progressed, made knowledge incremental rather than something that has to be relearned, over and over. There are tales that are older than most countries, tales that have long outlasted the cultures and the buildings in which they were first told.

I think we have responsibilities to the future. Responsibilities and obligations to children, to the adults those children will become, to the world they will find themselves inhabiting. All of us – as readers, as writers, as citizens – have obligations. I thought I'd try and spell out some of these obligations here.

I believe we have an obligation to read for pleasure, in private and in public places. If we read for pleasure, if others see us reading, then we learn, we exercise our imaginations. We show others that reading is a good thing.

We have an obligation to support libraries. To use libraries, to encourage others to use libraries, to protest the closure of libraries. If you do not value libraries then you do not value information or culture or wisdom. You are silencing the voices of the past and you are damaging the future.

We have an obligation to read aloud to our children. To read them things they enjoy. To read to them stories we are already tired of. To do the voices, to make it interesting, and not to stop reading to them just because they learn to read to themselves. Use reading-aloud time as bonding time, as time when no phones are being checked, when the distractions of the world are put aside.

We have an obligation to use the language. To push ourselves: to find out what words mean and how to deploy them, to communicate clearly, to say what we mean. We must not to attempt to freeze language, or to pretend it is a dead thing that must be revered, but we should use it as a living thing, that flows, that borrows words, that allows meanings and pronunciations to change with time.

We writers – and especially writers for children, but all writers – have an obligation to our readers: it's the obligation to write true things, especially important when we are creating tales of people who do not exist in places that never were – to understand that truth is not in what happens but what it tells us about who we are. Fiction is the lie that tells the truth, after all. We have an obligation not to bore our readers, but to make them need to turn the pages. One of the best cures for a reluctant reader, after all, is a tale they cannot stop themselves from reading. And while we must tell our readers true things and give them weapons and give them armour and pass on whatever wisdom we have gleaned from our short stay on this green world, we have an obligation not to preach, not to lecture, not to force predigested morals and messages down our readers' throats like adult birds feeding their babies pre-masticated maggots; and we have an obligation never, ever, under any circumstances, to write anything for children that we would not want to read ourselves.

We have an obligation to understand and to acknowledge that as writers for children we are doing important work, because if we mess it up and write dull books that turn children away from reading and from books, we 've lessened our own future and diminished theirs.

We all – adults and children, writers and readers – have an obligation to daydream. We have an obligation to imagine. It is easy to pretend that nobody can change anything, that we are in a world in which society is huge and the individual is less than nothing: an atom in a wall, a grain of rice in a rice field. But the truth is, individuals change their world over and over, individuals make the future, and they do it by imagining that things can be different.

Look around you: I mean it. Pause, for a moment and look around the room that you are in. I'm going to point out something so obvious that it tends to be forgotten. It's this: that everything you can see, including the walls, was, at some point, imagined. Someone decided it was easier to sit on a chair than on the ground and imagined the chair. Someone had to imagine a way that I could talk to you in London right now without us all getting rained on.This room and the things in it, and all the other things in this building, this city, exist because, over and over and over, people imagined things.

We have an obligation to make things beautiful. Not to leave the world uglier than we found it, not to empty the oceans, not to leave our problems for the next generation. We have an obligation to clean up after ourselves, and not leave our children with a world we've shortsightedly messed up, shortchanged, and crippled.

We have an obligation to tell our politicians what we want, to vote against politicians of whatever party who do not understand the value of reading in creating worthwhile citizens, who do not want to act to preserve and protect knowledge and encourage literacy. This is not a matter of party politics. This is a matter of common humanity.

Albert Einstein was asked once how we could make our children intelligent. His reply was both simple and wise. "If you want your children to be intelligent," he said, "read them fairy tales. If you want them to be more intelligent, read them more fairy tales." He understood the value of reading, and of imagining. I hope we can give our children a world in which they will read, and be read to, and imagine, and understand.

• This is an edited version of Neil Gaiman's lecture for the Reading Agency, delivered on Monday October 14 at the Barbican in London. The Reading Agency's annual lecture series was initiated in 2012 as a platform for leading writers and thinkers to share original, challenging ideas about reading and libraries.