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The problem is that in order to publish a book in mainland China, you have to agree to be subject to censorship. That's the nature of the system. I don't challenge that system on its face. It's their system. But as an author, I have a choice to make whether I'll participate or I won't.

In China, the problem is that with the system of censorship that's now in place, the user doesn't know to what extent, why, and under what authority there's been censorship. There's no way of appealing. There's no due process.

I'm a reader of Chinese literature, I like their films, but also: I've had great difficulty getting my work published in China; very little of it has been published there. The first two attempts to have all of my work published, for instance, were refused without any reason ever being given.

Chinese artists have been subversive over thousands of years, taking what they think of the government and embedding it in their art. There might be censorship of not going as far as they might.

Chinese readers are buying books in translation, particularly non-fiction about China, in large numbers.

The trend in China is toward tighter and tighter control. They are basically improving their censorship mechanisms.

The Central Propaganda Department is the highest-ranking censorship agency in China. And it has control over everything from the appointment of newspaper editors to university professors to the way that films are cut and distributed.

China and the U.S. are two societies with very different attitudes towards opinion and criticism. In China, I am constantly under surveillance. Even my slightest, most innocuous move can - and often is - censored by Chinese authorities.

In China, the rules of the market are not always that transparent. So it's very hard. Also, the national TV networks are all owned by the government, so our shows are subject to censorship by the networks. Every now and then, we are told that certain subjects cannot be talked about. There are frustrations.

After the Tiananmen Massacre, I felt compelled not only to continue writing but to actively resist the restrictions placed on freedom of speech. I set up the publishing company in Hong Kong, with offices in Shenzhen in mainland China, and managed to publish works of fiction, philosophy, and politics by unapproved authors.