Nothing happens in a vacuum in life: every action has a series of consequences, and sometimes it takes a long time to fully understand the consequences of our actions.

Everyone is an ocean inside. Every individual walking the street. Everyone is a universe of thoughts, and insights, and feelings. But every person is crippled in his or her own way by our inability to truly present ourselves to the world.

Qualities you need to get through medical school and residency: Discipline. Patience. Perseverance. A willingness to forgo sleep. A penchant for sadomasochism. Ability to weather crises of faith and self-confidence. Accept exhaustion as fact of life. Addiction to caffeine a definite plus. Unfailing optimism that the end is in sight.

People find meaning and redemption in the most unusual human connections.

Reading is an active, imaginative act; it takes work.

Too often, stories about Afghanistan center around the various wars, the opium trade, the war on terrorism. Precious little is said about the Afghan people themselves - their culture, their traditions, how they lived in their country and how they manage abroad as exiles.

I spent a lot of winters in my childhood flying kites with my brother, with my cousins, with friends in the neighborhood. It's what we did in the winter. Schools close down. There was not much to do.

Family is so central to Afghan life that all Afghan stories are family stories. Family is something I simply can't resist because all the great themes of human life - duty, grief, sacrifice, love, envy - you find all those things within families.

Write the story you need to tell and want to read. It's impossible to know what others want, so don't waste time trying to guess.

I grew up in a society with a very ancient and strong oral storytelling tradition. I was told stories, as a child, by my grandmother, and my father as well.

A doctor in a hospital told me that when the mujaheddin were fighting in the early Nineties, he often performed amputations and Caesarean sections without anesthesia because there were no supplies.

I'm a pretty uncomplicated person. I live a very simple life with my family and I enjoy very ordinary things.

I hate resting. I feel restless. My preference is to be working.

Life just doesn't care about our aspirations, or sadness. It's often random, and it's often stupid and it's often completely unexpected, and the closures and the epiphanies and revelations we end up receiving from life, begrudgingly, rarely turn out to be the ones we thought.

I find myself drawn to that period where children are about to leave childhood behind. When you're 12 years old, you still have one foot in childhood; the other is poised to enter a completely new stage of life. Your innocent understanding of the world moves towards something messier and more complicated, and once it does you can never go back.

I don't listen to music when I write - I find it distracting.

Economic chasm between people is something that is of interest to me. And something that I used to write about even as a child. It's something I've revisited a few times in my writings.

In many parts of the world, a man's accusing finger always finds a woman. But I think we need women to solve the problems that men create.

I don't outline at all; I don't find it useful, and I don't like the way it boxes me in. I like the element of surprise and spontaneity, of letting the story find its own way.

There isn't, even now, a great tradition of novel-writing in Afghanistan. Most of the literature is in the form of poetry.

The only two places where I can read for long stretches are in airplanes and in bed at nighttime.

I was told bedtime stories by my father or my grandmother. Books, I mostly read on my own in bed.

My wife is my in-home editor and reads everything I write.

I am always revolted when Islamic leaders, from Afghanistan or elsewhere, deny the very existence of female oppression, avoid the issue by pointing to examples of what they view as Western mistreatment of women, or even worse, justify the oppression of women on the basis of notions derived from Sharia law.

I have a particular disdain for Islamic extremism, and of course, in both 'The Kite Runner' and 'A Thousand Splendid Suns' that's obvious.

In Afghan society, parents play a central role in the lives of their children; the parent-child relationship is fundamental to who you are and what you become and how you perceive yourself, and it is laden with contradictions, with tension, with anger, with love, with loathing, with angst.

Literary fiction is kept alive by women. Women read more fiction, period.

I think that to fully appreciate baseball, it helps to have been born in the U.S.

All stories I write are compulsive. Anything I've ever written was because I don't have a choice. I write stories because I can't wait to tell it, I can't wait to see how it ends.

There's nothing easy about writing. It's always difficult. It's always a struggle.

The Taliban's acts of cultural vandalism - the most infamous being the destruction of the giant Bamiyan Buddhas - had a devastating effect on Afghan culture and the artistic scene. The Taliban burned countless films, VCRs, music tapes, books, and paintings. They jailed filmmakers, musicians, painters, and sculptors.

I'm fascinated by the way early experiences haunt and revisit you, remain present in your life for decades and decades - they can even shape who you ultimately become.

I - and, I suspect, millions of Americans like me, Republicans and Democrats alike - couldn't care less about Obama's middle name or the ridiculous six-degrees-of-separation game that is the William Ayers non-issue.

American high school culture was impenetrable to me, and very cliquey: you had the Hispanics, the African Americans, the surfer guys and the goths and the immigrants. The jocks and the surfers got the girls. By the time I'd got to grips with it, I'd graduated.

The strange dilemma of the 'ethnic-fiction' writer is that you are supposed to carry a banner for your homeland, be a voice for it, and educate the rest of the world about it, but I think that's far too onerous a burden for any writer to bear.

I grew up around a lot of Rumi, Hafez and Omar Khayyam books. My parents in Kabul had all the volumes around the house.

It's a very nice kind of quasi-fame being a writer, because you remain largely anonymous and you can have a private life, which I really cherish. I don't like to be in the public light all that much. I don't crave the whole fame thing at all.

You must not believe your own PR; it would be grotesque.

The experience of writing 'The Kite Runner' is one I will always think back on with fondness. There is an energy, a romance in writing the first novel that can never be duplicated again.

I'm glad I wrote them when I did because I think if I were to write my first novel now, it would be a different book, and it may not be the book that everybody wants to read. But if I were given a red pen now, and I went back... I'd take that thing apart.

Afghan people are just so tired of war.

Whatever the readers feel when they're reading my books, I feel it tenfold when I'm writing it.

Kabul was very popular with the hippies in the Sixties and Seventies. It was very quiet and peaceful.

I will say that there is an inordinate amount of medicine in my novels, especially the first one. There are a lot of medical things that happen. A hip fracture, three different kinds of lung cancer, pneumonia, blood poisoning, and so on.

I read actual physical books and have thus far avoided the electronic lure.

Afghanistan is a rural nation, where 85 percent of people live in the countryside. And out there it's very, very conservative, very tribal - almost medieval.

Ultimately, my books are not about the politics, although the toil and the struggle and the wars in Afghanistan have a significant impact on the lives of my characters.

My parents were reasonably affluent in Kabul. In the States, we were on welfare. My mom became a waitress, and my dad became a driving instructor. That part of the American immigrant experience applies to people of any nationality.

I felt on the periphery of high school culture; one of those invisible creatures that walk the campus. I think it was a lot worse for my parents.

You write because you have an idea in your mind that feels so genuine, so important, so true. And yet, by the time this idea passes through the different filters of your mind, and into your hand, and onto the page or computer screen - it becomes distorted, and it's been diminished.