Best 22 quotes of Ayad Akhtar on MyQuotes

I can't be a spokesman for anything other than my own concerns. I have to be free to wrestle with my own preoccupations, and if I'm bringing any political awareness to that process, that mitigates my freedom.

I consider myself to have been formed by a lot of the locutions and aesthetics and principles of the Muslim way of life, and those are an important part of my childhood and my identity.

I don't feel that as an artist my job is to offer PR propaganda, whether for the good or for the bad.

I don't have an ideal reader. I'm trying to reach something simple and, I believe, universal, in every single person.

I don't want to test that simple sense of being human. I don't want to transform it.

I feel like one of the things that is central to American life is the religious experience, and I think that the experience of being Muslim in America is as valid and as important a perspective on the religious experience of America as evangelical Christianity or Judaism - whatever it may be.

I feel like that religions generally ask the biggest questions. They may not always have the best answers, but they're the zone of human activity that regularly asks the biggest questions.

If you want to really deeply touch the viewer or the reader, the theater might be the most powerful way to do it.

I have no interest in problematizing things. So what I am writing to is that simple sense of being human in myself.

I'm a storyteller. I feel like the issue of discourse is an important one because there's a lot of political and ideological discourse that goes around, and we relate to that on an intellectual level.

In my early 30s, I started to realise I was avoiding something on a personal level, but also as a writer. I was in denial about who I was, and was trying to be someone who I was not.

I see the American experience as being defined by the immigrant paradigm of rupture and renewal: rupture with the old world, the old ways, and renewal of the self in a bright but difficult New World.

I started to understand that for me, art was no longer about self-expression but about creative engagement with the world. I started to respond in an excited way to making work inside an industry and not feeling the constraints of audience expectation as some kind of thing that I should avoid.

I think of myself as a narrative artist. I don't think of myself as a novelist or screenwriter or playwright. All of those modalities of processing and experiencing narrative are obviously very different, and I'm not sure that I prefer any one to the other. I think the novel gives you the opportunity to have a kind of interiority that you can't have in the theater, which is pure exteriority.

I think that literary forms are losing their capacity to connect people to issues, to the experiences that feel most meaningful to them.

I think there is a lot of continuity between the Jewish and the Islamic traditions. We know this historically, though people don't want to talk about that - especially Muslims. There is a common source for both Judaism and Islam, or let's say that Islam finds its source in Judaism. The commonalities of practice and sensibility, ethos and mythos, create a lot of overlap.

Religion has been an important part of my understanding, my inquiry into what it means to be human.

Sooner or later we've all got to confront the reality that we have got to come to understand who we are and what we're doing, and the extent to which we are guided or manipulated by forces that are beyond our control.

The Quran is many different things, and we also have to see the Quran almost as a secondary source commenting on the Old Testament.

The secret of a happy life is respect. Respect for yourself and respect for others.

[A]t the end of the day, art's capacity to change the world is profoundly limited. But what it can do is change the way we see things individually.

One of the things that I have learned, one of the attainments of the long travails and tribulations, has been, I think, coming to a simpler sense of myself that I think correlates to a simpler sense of others. Something closer to what I now call the simple sense of being human, a sort of Wallace Stevens-esque formulation. I know that I can reach this in the audience, because when they start hearing a story, they wake up in this very clear, simple way. Almost like children. It’s the same thing: a child asks, “What’s going to happen next?” When they sense that a story is being told to them, they wake up. When they sense that it’s not being told anymore, they lose interest. I take this very seriously, because the sacred trust that allows openness is the precondition of the kind of exchange I want to have, the kind of relationship that I want to have. I don’t want to test that simple sense of being human. I don’t want to transform it.