INTERVIEWER: All novelists seem to have at least one in the drawer that’s just garbage. SALMAN RUSHDIE: I have three. Until I started writing Midnight’s Children, which would probably have been about late ’75, early ’76, there was this period of flailing about. It was more than a technical problem. Until you know who you are you can’t write. Because my life had been jumbled up between India and England and Pakistan, I really didn’t have a good handle on myself. As a result the writing was garbage—sometimes clever garbage, but garbage nonetheless. (via The Paris Review Art of Fiction no. 186)

INTERVIEWER: All novelists seem to have at least one in the drawer that’s just garbage.

SALMAN RUSHDIE: I have three. Until I started writing Midnight’s Children, which would probably have been about late ’75, early ’76, there was this period of flailing about. It was more than a technical problem. Until you know who you are you can’t write. Because my life had been jumbled up between India and England and Pakistan, I really didn’t have a good handle on myself. As a result the writing was garbage—sometimes clever garbage, but garbage nonetheless.

(via The Paris Review Art of Fiction no. 186)

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