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My parents had an arranged marriage, as did so many other people when I was growing up. My father came and had a life in the United States one way and my mother had a different one, and I was very aware of those things. I continue to wonder about it, and I will continue to write about it. ↗
I got interested in the idea that love is often used as a kind of blanket explanation for things. I mean, battered wives, for instance: "Why did you go back to him?" "Oh, I loved him." "Why did you embezzle fifteen million pounds and run away to the other side of the world?" "Oh, well, because I was in love." All that and then you don't ask anything else. I thought if I just say, these people needed love and they found it, then it kind of explained it away. I wanted to look at their behaviour and how love can inspire the best and the very worst in human behaviour but love itself is not behaviour. So I avoided the word 'love' until the very end and it's the last word in the novel. I wanted to explore what people will do when they're in such terrible need of love. If there was a big idea then that was it. Then, of course, I hope that if it's a story worth reading it's the characters themselves who make you want to read it, not the big idea. I don't think a big idea drives a novel usually. Something else has to engage you on a much more kind of personal level. ↗
You can possess a book without really owning it, though. Beyond ownership in a commercial or legal sense, there’s ownership of an emotional or metaphysical kind - when a book speaks so powerfully to us that we feel it’s ours exclusively: that it exists just tor us. People we meet sometimes have this effect too; they look into our eyes, and speak in a hushed, intimate voice, and make us feel we’re uniquely important to them - before going on to do the same to someone else. In life, we call these people flirts. The best books are flirtatious, too, since they seem to be ours alone when in reality they’re anyone’s. ↗
