
Mohsin Hamid: Uh guys I can hear you
Last weekend, I attended a talk by the Pakistani writer, Mohsin Hamid, at the Emirates Airline Festival of Literature. While the talk was about his last novel, what stayed with me the most was a comment Hamid made about the future of reading. He insisted that, despite panicked predictions of books becoming museum artifacts, and writing being an aging art on its deathbed, reading will continue to offer people something valuable and irreplaceable.
Hamid’s argument
Hamid argued that reading is unique in that it is an act of co-creation and collaboration–a kind of contract, I would say–between the reader and writer. While our conversations around writing tend to center around the writer, no story is complete until it finds a reader because technically, words on a page are still, soundless things; they are printed symbols with no audiovisual component, no reel of images to guide or shape what you should see.
A book truly comes alive when it enters the chamber of a reader’s mind and become their–your–own private story like a beam of light refracted through the lens of your life experiences, or a customized film projected onto your mind’s eye. It’s this unique quality, Hamid argues, that will allow reading to survive in today’s oversaturated media landscape.
Hamid extended his argument by pointing to film adaptations of books and the passionate debate they inspire. Think of a time when you watched, or heard of, a film adaptation and thought: ‘Jail!’ According to Hamid, most criticisms of adaptations are readers mourning the loss of the world they had conjured in their head (think The Hunger Games or Harry Potter). For the reader, every movie director of a book adaptation is a dictator overthrowing their sacred, private universe. ‘What about my world?’, asks the wounded reader.

Jane Austen: You pierce my soul. I am half agony, half hope.
Netflix: … a bunny?
My thoughts
I find Hamid’s argument compelling for the way that it forces us to reimagine our traditional understanding of reading. Typically–and I say this as someone who has related to this position in the past–we think of reading as a static, passive role, both physically (as in reading is just sitting and staring at a book), and emotionally (all readers read identically/all readers are interchangeable).
But Hamid’s line of reasoning transforms reading into a dynamic process and repositions the reader as a co-producer of a book. I would even argue that when we read, we juggle several roles–of cinematographer and casting director and set and costume designer, all at once. We weave entire worlds out of words, animate mute, inky symbols with life.

This maybe explains why reading often feels intensely private, intimate, even transcendent. The most rewarding reading experiences occur in a time warp where time slows and is suspended; they collapse time and dissolve distance between the writer and reader until a 19th century Brazilian author is speaking to you, a 21st century student, in a cross-century conversation that feels like a communion.
This is the marvel of reading: it’s deceptively simple–so sedentary, so silent–but equally poignant and powerful. It’s this tension between appearance and experience that’s one of the most enjoyable things about reading. Who is to say what vivid, heart-wrenching, glorious, piercing film plays in your mind when you sit down to read, but you?
Some critiques
If I were to disagree with Hamid, it’s only to say that I think his argument, as powerful as it is, can be extended to many art forms. Films, visual art, music: the best of any art form establishes a dialogue between the artist and the audience. It offers a simulation of life that allows us to return to Real Life with more clarity, perhaps even courage.
I also believe that reading will survive, but maybe not in the way that Hamid imagines. With the rise of audiobooks and ‘BookTok/BookTube/Bookstagram’–two phenomena that deserve posts of their own–reading is reinventing itself. So while Hamid is an old-school physical books purist, today and tomorrow’s generations will probably read, but the act of reading may shape-shift.
All said and done, though, I can understand Hamid’s impulse to champion reading. He is, after all, a writer, and I suspect it isn’t the most cheerful thing to hear people rushing to write eulogies of your livelihood. In the 21st century evolution of entertainment and a Survival of the Fittest, all Mohsin Hamid is trying to do is bet on reading making it to the end. I would bet on it too.


Will today’s libraries become tomorrow’s museums?
Questions for discussion:
- What are your thoughts on the future of reading? Do you agree with Hamid? Will it become a thing of the past, or does it have what it takes to survive?
- How is reading similar to and/or different from your favorite forms of entertainment?
- Do you have a favorite, or least favorite, movie adaptation of a book? Have you ever felt strongly about a film adaptation? If so, why?
If you want to hear from Hamid himself…
Links
https://www.netflix.com/tudum/articles/persuasion-poster-photos-dakota-johnson-henry-golding







