I wrote the Light of What We Know here ..(at Yaddo), over several long stays. I'm not sure where I would have written it otherwise. I've been homeles… - Zia Haider Rahman

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I wrote the Light of What We Know here ..(at Yaddo), over several long stays. I'm not sure where I would have written it otherwise. I've been homeless since 2007, all my few possessions put into storage before I set off to travel across Europe and Asia. My journey was interrupted because of the deaths of loved ones and it was within the interruption that I began and finished writing the novel. Yaddo, I was told, might be a good place to write. ... Yaddo turned out to suit me perfectly. A stately home—not English privilege but a Scooby Doo mansion—with woodlands, three lakes and magical charm, this charitable foundation has for a hundred years been host to giants such as James Baldwin, Saul Bellow, Philip Roth, Sylvia Plath and Truman Capote. I'm still homeless and have yet to resume my broken travels, but wherever I go, I know that Yaddo and its 400-acre stretch of God's own country was always a kind of home to me and helped to nurture In the Light of What We Know.

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About Zia Haider Rahman

Zia Haider Rahman is a British writer of Bangladeshi origin. His debut novel In the Light Of What We Know in 2014 was published to critical acclaim.

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When we encounter a face, we view it as a whole, by a process of integration of the parts, which takes place, as some scientists and physicians understand it, in the optic nerves long before any transmission reaches the brain. The otherwise dizzying abundance of information that hits the retina is distilled in this tract of fibers behind the eye into a sign that our intelligence can absorb. When we see a strip of letters, a billboard slogan, for example, we cannot help but read the word; we do not see each letter separately, but rather, instantly, we grasp the whole word and, moreover, its meaning.

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I think of the whole of the city, the people who inhabit its halls, who sleep now and breathe its recycled air and whose activities by day animate this strip of land on the rim of the desert, and I remember — because this thought is always a memory — that they will all one day be gone, that everyone of them will be taken outside and pushed into the sand, that in a hundred years, or two hundred years, to be certain, every human being here, every lover and loser, every captain of industry and every hotel cleaner, every mother and father and every child will be no more and that these buildings will stand, not all of them, but enough will persevere without them. Its a thought that stills me, that brings a moment of calm. And I walk and walk, and amid the concrete, steel and glass, under lights burning brighter than the noonday sun, it is the knot of anxiety, always tightening and turning, for which, above all else, I resent her".

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