Five Questions for: Author and Filmmaker Laleh Khadivi Laleh Khadivi is an author and filmmaker who was born in Esfahan, Iran, and grew up in California. Her first novel, "The Age of Orphans," received the Whiting Award for Fiction, the Barnes and Noble Discover New Writers Award and an Emory Fiction Fellowship, and it was translated into eight languages. Her latest novel, "The Walking," will be published in March. Her debut documentary film, "900 Women," premiered at the Human Rights Watch Film Festival in 2001. India Ink interviewed Ms. Khadivi at the Jaipur Literature Festival. Depression? I'm kidding. I think that when you write, and that is the only thing you do and you don't have another job you end up spending a lot of time alone in worlds of your creation and so that can make living in the world of reality a little bit difficult. I feel like, for myself and a few other writers I know intimately, going between those two worlds is often very difficult. You don't have the ease with which to converse randomly at a dinner party when you've been writing a torture scene all day. You kind of have to step in and out of the things that you know are fiction and the things that you know to be real. Otherwise, writing is a pretty sweet job. You can't really complain about it, you know. When I'm in the middle of writing a book, doing the day-to-day writing of it, I develop a ritual for that book, but it changes for each book. So I ideally would like to write every morning between 7 a.m. and noon if I can get those many hours --though I just had a son so this is not going to ever happen again. And then from noon until 7, do other things. And then I find the night very useful for writing so I write again from dark until when I go to sleep. At the end of the day, I'm a writer, and in the middle, a regular person. My latest book is about the effects of movies on the imagination. It's about a lot of other things as well -- political things and social things -- but mostly it's about a boy's love of the cinema and what the cinema does to your desires. How if you only know one world - one particular village or one town - and you watch movies that happen halfway across the globe, how you are changed and how you suddenly think to yourself, "Oh wait, the Earth is bigger than what I know. How do I get to this other place? India has such a rich history of cinema, and Bollywood is all about spinning imaginary tales. They might not involve other places on the planet, but they involve other classes, other gender dynamics and other fashion. It's a book about that distance between where you are and what you see, and where you can be in cinema and how it changes what you want. It takes place partially in the Kurdish region of Iran and partially in Los Angeles. How do you deal with your critics? Ha! I've been trying to figure that out. I think ideally the best way to deal with it is to just not read the reviews. Because with my first book I got these reviews, and some of them were great, and some of them were not. I realized that the ones that were great did not make me feel good -- I didn't celebrate it. And a bad review made me feel terrible. So there was nothing to win, nothing to gain from reading the reviews. Granted, your ego is very tempted to go and see what they are saying about your book, but you know if it's good and where it's not good and what the weak parts are. If someone gives it a bad review and doesn't like it, there is a good chance they just didn't get it or it's not their thing. If I was asked to review a book by John Updike, I would say terrible things, but someone else would give him the Pulitzer Prize. It's a personal preference. Reviews are very bizarre - they are assigned to one reader and that reader might hate the Middle East. I see the intellectual background of where the reviewer is from - if they do not like Faulkner's writing, chances are they are not going to like mine. One billion people - not all of them reading, but still a country of a billion people -- you just can't ignore that. There's a billion universes going on in those people's lives and communities, and I feel like because there is an English-speaking presence here and my books can be read without translation, I should go and help people get excited about them. I have been blown away by the attentiveness and the eagerness of the audiences in Jaipur. I also think that beyond just engaging with readers, I think it's important to engage with writers about writing and have public discourse about the life of the mind. Our world is increasingly not giving writers and thinkers and artists a place to do that, and so Jaipur is like this small little window to have discussions that are not about money, but about art or politics or inspiration. That's important to me, and I think that's important to the increasing readership of Indians.