Pankaj Mishra famous quotes
Last updated: Sep 5, 2024
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Gandhi saw how people have to re-think their own individuality before engaging in political activity. Otherwise they're just playing the game that the adversary has set out.
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If you belong to a small country that is geopolitically not that important, or strategically not that important, you have no place among nations. Those countries are neglected and left to fend for themselves.
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When I first decided to be a writer, that meant dealing with preoccupations and concerns that took little account of Indian traditions. I saw India's past as part of an antiquity rendered irrelevant by modernity, which with its science, nation states, free enterprises, and consumer societies was supposed to have solved all problems.
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We, especially those of us in depoliticized and pacified societies, need to cast a colder eye at our self-perceptions, now and in the past, as sentinels and embodiments of Enlightenment virtues of reason, dissent, and skepticism.
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Freedom of speech doesn't guarantee great literature.
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The hope that fuels the pursuit of endless economic growth - that billions of consumers in India & China will one day enjoy the lifestyles of Europeans and Americans - is as absurd & dangerous a fantasy as anything dreamt up by Al-Qaeda. It condemns the global environment to early destruction & looks set to create reservoirs of nihilistic rage & disappointment among hundreds of millions of have-nots - the bitter outcome of the universal triumph of Western Modernity, which turns the revenge of the East into something darkly ambiguous, and all its victories truly Pyrrhic.
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Politics now is really only about self-interest, which means it has violence built into it because your self-interest is going to collide with the self-interest of the rest of the world. That's inevitable.
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The recent past is full of diverse examples of writers - Mahfouz in Egypt, Pamuk in Turkey, and more interestingly, Pasternak in the Soviet Union - who have conducted their arguments with their societies and its political arrangements through their art in subtle, oblique ways. They didn't always have the license to make bold pronouncements about freedom, democracy, Islam, and liberalism, but they exerted another kind of moral authority through their work.
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The whole idea of mindfulness is all about having a second-level monitoring of your thoughts and being able to recognize them as being negative or harmful before they become a part of your being, before they become some kind of action like writing an angry letter to someone or speaking too strongly to someone.
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I don't feel any great need to subscribe to a certain notion of Buddhism that says "You have to do this" or "You have to do that." Buddhism does not prescribe rituals or prohibitions in the way many religions do.
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Most suffering is human-made and avoidable. It's mostly in your head.
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We need a more complex understanding of writers working under authoritarian or repressive regimes. Something to replace this simpleminded, Cold War-ish equation in which the dissident in exile is seen as a bold figure, and those who choose to work with restrictions on their freedom are considered patsies for repressive governments. Let's not forget that most writers in history have lived under nondemocratic regimes: Shakespeare, Tolstoy, and Goethe didn't actually enjoy constitutionally guaranteed rights to freedom of speech.
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I suppose I've become less judgmental about individuals leading lives according to false ideas and false consciousness, because sometimes entire societies are prey to false ideologies and national delusions.
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As a novelist, your impulse is toward multiplicity: multiple voices, multiple perceptions, multiple nuances, the ambiguity in human communication. Fiction really is the ultimate home for that sense of ambiguity.
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In America, you don't even have proper holidays. It's really one of the most prosperous slave societies in history. People work their ***** off all year long and get two weeks off! It's incredible.
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I think what's important and extraordinarily practical about Buddhism, is that it offers very concrete methods for people to work with.
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The people who encouraged me weren't necessarily writers or readers themselves. They were people who were just pleased to see me devote my life to reading and writing.
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We have so few unaffiliated public intellectuals now - people who are not beholden to a think tank, corporate-owned media, or academic department - and even many literary writers look and behave like young urban professionals and canny careerists.
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In India, love often follows marriage. I know many people who are still very deeply in love with their wives, who they barely knew before they were married. In America there's this idea that "how could someone get married without being deeply in love with each other?" but in a lot of these cases feelings of love and affection actually grow after they've been legally and formally brought together.
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I still prefer going to the classical writers, the modernists and the nineteenth century writers. Much of what has been done since then has just been repetition. A lot of it is marvelous but the forms haven't changed.
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I feel the responsibility of the novelist is to create a very complex world populated by very complex individuals and to deepen that as much as possible. I don't think the responsibility of the reporter or journalist is fundamentally different.
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The act of writing should not be accompanied by the sense of an audience, someone peering over your shoulder, but in nonfiction I think it’s almost imperative that you identify an audience so you can confirm or challenge or undermine whatever ideas or prejudices they might have about your subject.
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You need to work yourself up into some kind of a state every morning and believe that you are doing something terribly important upon which the future of literature, if not the world, depends. Buddhism tells you that this is just a foolish fantasy. So, I try not to think too much about Buddhism early in the morning. From noon on, I think about it.
-- Pankaj Mishra -
So much of writing is fed by vanity and the feeling that what you are doing is the most important thing in the world and it has not been done before and only you can do it. Without these feelings, many writers would not be able to write anything at all.
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A sustained engagement with the world, a sense of how it was and how it ought to be, and what has been lost, is imperative to good writing - I just don't know how you can be a serious writer without it.
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I feel that I already have the life I love and I don't see how it could be improved radically by any greater material success I might have - bigger advances, more prizes. It's a kind of madness. And the culture of prize-giving is so corrupt.
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The idea that human beings can make history, that is something quite unique to the modern West.
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There is this idea of history as something you make, as a meaningful narrative with a beginning and an end, the end being a utopia of happiness that we'll reach through socialism or free trade or democracy, and then it will all be wonderful.
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Most writers have very little that's important or valuable to offer; most of them are just repeating each other.
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Buddhism doesn't really have much time for political mass-movements. We are so trained to think of politics in terms of acting collectively, acting as part of mass-movements, that it's become hard for us to imagine a form of politics that is based on a high degree of introspection and self-examination.
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I feel very privileged to get to read and write and not to have to do things that I don't like, and I don't want to give that up. Everything else is just a bonus and often a distraction from the writing, reading, and traveling that gives me the most pleasure.
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I myself, at one time, wanted to be like the explorers of the Himalayas that I used to read about; people intoxicated on the myth of history.
-- Pankaj Mishra -
Western conception of history has had great consequences over the last two hundred years. You see it in the invasion of Iraq. You see it in almost everything that is said and done.
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There was great political uncertainty in South Asia at the time of the Buddha. The older small tribal societies were cracking up and gave way to bigger states. There was much more trade and travel going on than before. To people in the cities the experience of living in a small place where you knew everyone and governed your affairs by consensual democracy had been lost.
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We are always boosting or trying to prop up the ego by fulfilling some desire or other, and always craving affirmation from the outside.
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To think that land reform is going to somehow automatically create an equitable system, I think that's just wrong. It's a very technical view of the world.
-- Pankaj Mishra -
Once you empower people and say,' Here you are, now you get to dream the great dream of becoming a full citizen with equal rights and radical improvement in your living situation,' you are creating an illusion which will break one day.
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So much of democracy is built on antagonism. It institutionalizes a certain kind of antagonism. This is not to say that we shouldn't have any democracy, but the fact is that democracy has hardened political identities and made them more violent.
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Incidentally, I am intrigued by how many European and Latin American writers expressed their political views in the columns they routinely wrote or write in the popular press, like Saramago, Vargas Llosa, and Eco. This strikes me as one way of avoiding opinionated fiction, and allowing your imagination a broader latitude. Similarly, fiction writers from places like India and Pakistan are commonly expected to provide primers to their country's histories and present-day conflicts. But we haven't had that tradition in Anglo-America.
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Once you get past the grand normative claims made in the West for literature, especially the novel, in the post-Christian era - that it is a secular substitute for religion, hallmark of modern civilization, a priori liberal and cosmopolitan, with authors appearing to implicitly embody such pious ideals - you encounter a less agreeable reality: parochialism, blinkered views, even racial prejudices of the kind the bourgeoisie have held everywhere.
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What happens when we examine the claims made for Western liberalism as a universalizing ideology of tolerance, human dignity, equality, and compassion is the fact that the patron saint of modern liberalism, John Stuart Mill, thought that barbarian peoples like the Indians were unfit for self-rule.
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Today, practically every country outside the West is undergoing an intellectual, political, and cultural churning, from China to Bolivia, Egypt to Indonesia, but we haven't really had, after the 1960s, a major oppositional culture in Western Europe and America. The Occupy movement was so startling and welcome partly because it was the first such eruption of mass protests in decades.
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Our tolerance of the intolerable found a low threshold as early as the late 1950s with the grotesque excesses of McCarthyism, which destroyed so many honest lives, and then with the insane nuclear arms race and confrontations.
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Writers in the nineteenth century - people like George Eliot and Flaubert - were accustomed to addressing particular communities with which they shared not only linguistic meanings but also an experience and history. Those communities have progressively split in the twentieth century, and grown more heterogeneous, and writers emerging from minority communities have found themselves addressing audiences closer to their experience and history - a phenomenon derided by conservative white men as identity politics and multiculturalism in the arts.
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I think that Indian writing in English is a really peculiar beast. I can't think of any literature - perhaps Russian literature in the nineteenth century comes close - so exclusively produced by and closely identified with a tiny but powerful ruling elite, the upper-caste, Anglophone upper middle class, and dependent for so long on book buyers and readers elsewhere.
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Whether you are in the West, the East, the North, or the South, we should all feel pressured to attempt more, find new ways of outwitting ourselves, in our writing and thinking.
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Dickens didn't have access to any other epistemologies other than those prevailing in Britain. But a novelist today cannot plausibly claim ignorance of his society's manifold connections with the wider world, the fact that prosperity and security at home, for instance, often depend on extensive violence and exploitation abroad.
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In the end, of course, all novelists will be judged by their novels, but let's not forget that we will also need new ways of assessing the latter. There are people who will continue to write nineteenth-century novels in the early twenty-first, and even win major prizes for them, but that's not very interesting, intellectually or emotionally.
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I guess I am nostalgic for a time - the nineteenth century and early twentieth - when writers were, to use Stefan Collini's phrase, "public moralists" and politicians, plutocrats, bankers, arms dealers, and experts and technocrats were not solely defining the moral norms as well as the political lives of our societies. We do have some writers claiming to be public moralists, but, as I said, they have actually been more jingoistic than even the henchmen of Bush and Blair.
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There are some serious limitations in Mo Yan's situation as a writer in China today - just as there are for Jia Zhangke, one of the world's greatest film directors. He can only phrase his dissent obliquely, in his art. Writers in "free" societies labor under no such constraints. They can write more or less whatever they want in both their fiction and their commentary. Yet so many of them look oddly inhibited, even timid, and depressingly a couple of prominent figures actually positioned themselves to the right of their governments, intelligence agencies, and corporations.
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I am happy to accept that badge of ambivalence if that means some progress in dismantling this false opposition: writers boldly using their privileges of free speech in the morally superior West versus pathetic wimps in repressive countries we don't like.
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No one is obliged to take a position on the urgent issues of the day, but there are times when our impoverished public sphere could do with some occasional assertions of literary and moral authority.
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Despite all the boosterish talk of globalization breaking down barriers, most writers in Anglo-America are still working within the nationalist assumptions of their traditionally powerful societies.
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We need to infuse politics with ideas like compassion and empathy, and a sense that we live in an interdependent world.
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If you think that what you're doing is not all that important in the larger scheme of things and that you're just an insignificant creature in the whole wide world, which is full of six billion people, and that people are born and die every day and it makes no difference to future generations what you write, and that writing and reading are increasingly irrelevant activities, you'd probably never get out of bed.
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In the modern world, nationalism remains a very important force. We delude ourselves into thinking that globalization has made all of that redundant and that everyone just wants to be like America.
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I found it really disturbing to see a novelist writing a diatribe about Islam and Muslim radical extremists, blurring the distinction between the two.
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Nietzsche's vision of the superman is of someone who's able to control and tame his passions and turn them into something richer than raw emotion and raw feeling. I think the best writing does that too. Untamed passion basically results in bad writing or bad polemics, which so many writers and public intellectuals are vulnerable to.
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I think the Buddha presents an image of someone who believes in self-control. I think he's offering, perhaps, a critique of the romantic idea of the passions being this wonderful source of life or vitality that define you or your writing.
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The internet has created a transnational audience. If you publish something in the New York Times, it's read all over the world. Who knows how big this audience is or how long it will last.
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There is a lot of anxiety in India about writers selling out to foreign audiences, but I’m neither flattering the Indian audience nor the American audience. I’m uneasily somewhere in the middle.
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I wrote for many years without showing my writing to anyone, because I was constantly comparing it to what I was reading. You have to compare yourself to the best and feel totally inadequate.
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I've never really felt that being part of a literary community is all that important. It can be extremely detrimental to a writer. It can damage successful writers by giving them an exalted sense of what they've done, and it can crush less successful writers by infecting them with envy and malice at an early stage in their careers.
-- Pankaj Mishra -
The ’60s was the last time when large groups of people in the West searched for alternative modes of being. In a society like India’s, which is still not fully modern or totally organized, and has a great deal of tolerance for otherness in general, they find the cultural license to try other things, to be whatever they want to be.
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I don't think of myself as particularly earnest. I have long bouts of cynicism and skepticism. So much of my early life was full of uncertainties. It still is. My "Buddha book" expresses that. Perhaps that's what created this impression of earnestness.
-- Pankaj Mishra -
I meditate at airports because those are the places where I’m extremely tense, and I often meditate while I’m walking down the street. I have a thought and become aware of that thought and thereby create another level of awareness.
-- Pankaj Mishra -
The Buddha would not have liked people to call themselves Buddhist. To him that would have been a fundamental error because there are no fixed identities. He would have thought that someone calling himself a Buddhist has too much invested in calling himself a Buddhist.
-- Pankaj Mishra -
When I moved to London in the 1990s, it had changed a great deal. Racism had become deeply uncool. But there has been a return of racism in the guise of "antiterrorism." People who look like myself are immediately suspect. I've become extremely self-conscious about going into crowded public places.
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The whole Hollywood conception of Tibet as this peace-loving country denies the complex humanity of the Tibetan people. Their ideas exist in a high degree of tension with impulses toward corruption, toward violence, toward all sorts of things. The Dalai Lama himself would say that he has to fight these impulses himself on a daily basis.
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Most of what I read is for reviewing purposes or related to something I want to write about. It's slightly utilitarian. I definitely miss that sense of being a disinterested reader who's reading purely for the pleasure of imagining his way into emotional situations and vividly realized scenes in nineteenth-century France or late nineteenth-century Russia.
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I think the reporter or journalist is well served by having a responsibility to the powerless, to use a much-abused cliché. The voice of the powerless is in some danger of not being heard in the elite discourses we now have in the mainstream media.
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People who write about issues like poverty or terrorism are a part of the elite, and the distance between the elite and nonelite is growing very fast. You can move around the world but meet only people who speak your language, who share the same ideas, the same beliefs, and in doing so you can lose sight of the fact that the vast majority of the world does not think or believe in or speak the everyday discourse of the elite.
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There have been many instances of people combining the political life with the spiritual life, a life of constant self-examination. Gandhi was a great example of that.
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I think excessive rationality can be very dangerous. Certainly the kind of rationality we've seen in the last hundred years, and still see on a daily basis when Madeleine Albright says that it's all right, we have to live with the idea of hundreds of thousands of Iraqi children dying because it contains Saddam Hussein.
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Modernity has created more problems than it is capable of solving. Millions of people are now condemned to wait endlessly for their redemption through modernity.
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I am a secularist in the Gandhian sense of the word, not the Nehruvian one. Nehru thought religion was an antique superstition which stood in the way of rational modern politics. I side with Gandhi, who wanted religious figures out of politics but also was suspicious of purely rational politics.
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Buddhism resonated very powerfully with a lot of my preoccupations.
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Most books germinate within you for a long time before they are ready to come out. I wrote several drafts of the novel over many years and when I finally got to the last one, it didn't take much time.
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The longing for a very garish kind of success seems as widespread among writers as among investment bankers.
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The American writer is a very pampered figure - by foundations, by fellowships, by publishing advances. Even though I am not American, I have been pampered enough myself to know how it can make your life too frictionless.
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The internet has spawned people for whom knowingness is more important than knowledge. It equips you with the illusion of offering knowledge instantly - and quite easily - so you can read a few articles on a few subjects and feel well informed but not actually know any of those subjects in any depth.
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Buddhism has always been a religion for people who've worked their way through a cycle of materialism and still feel discontented and want more, or have questions that their state of prosperity is not answering.
-- Pankaj Mishra -
I think a more complex idea of fiction - and the human self's relationship with the world - emerges when we abandon this philistine equation between literature and liberalism and human goodness, and pay some attention to the darker, ambiguous, and often muddled energies and motivations that shape a work of art. If we do this, we can appreciate a writer like Céline or Gottfried Benn without worrying whether they conform to existing notions of political incorrectness.
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I think overtly political novels - those that never transcend or contest their author's conscious intentions and prejudices - are problematic. This is not just true of the innumerable unread books in the socialist realist tradition, but also of novels that carry the burden of conservative ideologies, like Guerrillas, Naipaul's worst book, where the author's disgust for a certain kind of black activist and white liberal is overpowering.
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I think our conception of literature should accommodate not only apolitical writers but also those whose political opinions we find unpalatable. Fiction after all comes from a different, less rationally manipulable side of the brain. I am personally very attached to reactionary figures like Dostoyevsky, Hamsun, and Céline.
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The asymmetries of power that have shaped relations between the West and the rest of the world also exist in the realm of literary criticism.
-- Pankaj Mishra -
You have to be able to decide, 'Well no, I'm not going to be violent, I'm going to suppress that impulse; I'm not going to be greedy.' Unless you're able to do that you're stuck with adversarial politics that leads nowhere and creates ever greater violence.
-- Pankaj Mishra -
Most people turn things like elections into a fetish and think it's the only way to go: if we just keep giving people the vote, that'll solve all our problems. In the end, that's just a silly, infantile notion.
-- Pankaj Mishra -
Christianity and Islam are concerned with the idea of justice, which can turn into political justice, social justice, economical justice, and so on. Buddhism is not so concerned with the idea of rights. There is more talk of responsibility than of demanding rights.
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It is this capacity for relentless self-criticism that should be - everywhere - the true measure of intellectual freedom and cosmopolitanism, not the entrenched cultural power and self-congratulatory moral rhetoric of some people in countries long accustomed to telling other societies what to do and how to behave.
-- Pankaj Mishra
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