An author focuses on a few individual characters, and hopes that a larger frisson of emotion and revelation comes across to the reader. (1996) - Bharati Mukherjee

I have tried very hard as a novelist to say, "Novels are about individuals and especially larger than life individuals." My protagonists are very feisty characters. And, you know, that there is no one unified story about the immigrant experience or the immigrant passage and what I hope I've done in DESIRABLE DAUGHTERS is show how fractured the responses to that whole odyssey of moving, pulling up your roots from your original country and re-rooting yourself in an adopted country is.

I have been blessed with an enormity of material. I can be Chekhovian and Tolstoyan-with melancholy and philosophical perspectives on the breaking of hearts as well as the fall of civilizations-and I can be a brash and raucous homesteader, Huck Finn and Woman Warrior, on the unclaimed plains of American literature.

I am an American. I am an American writer, in the American mainstream, trying to extend it. This is a vitally important statement for me-I am not an Indian writer, not an exile, not an expatriate. I am an immigrant; my investment is in the American reality, not the Indian. I look on ghettoization-whether as a Bengali in India or as a hyphenated Indo-American in North America as a temptation to be surmounted. It took me ten painful years, from the early seventies to the early eighties, to overthrow the smothering tyranny of nostalgia. The remaining struggle for me is to make the American readership, meaning the editorial and publishing industries as well, acknowledge the same fact. (As the reception of such films as Gandhi and A Passage to India as well as The Far Pavillions and The Jewel in the Crown shows, nostalgia is a two-way street. Americans can feel nostalgic for a world they never knew.)