People who have experienced nothing love to tell stories while people who have experienced a great deal suddenly have no stories to tell at all.

You say fate is almost indispensable to literature - I think it's completely indispensable, at least in a novel, because a novel always has a plot. Even if nothing happens, even if someone just spends a day walking around Dublin, or whatever, there's still something going on.

People who have experienced nothing love to tell stories while people who have experienced a great deal suddenly have no stories to tell at all.

Also, whenever you have direct speech, and I don't quite know why, but it always gets better in English. Dialogue, the flow of dialogue, English just has a better way with it.

I'm trying to exploit the bestseller, in a way, but not in the sense of repeating the formula. It's just that the bestseller did so well economically that now I'm freer to do what I want to do, or to try out what I want to try out.

Usually I work out the plot before I start. This time I thought: Writers always talk about not knowing where a book is going - -I want to experience that, too. What I found out is that it's very interesting, but it takes much longer because you have so many false starts. You take wrong turns and you have to go back and start the whole chapter, or the whole section, from scratch.

One of the points where the art world is at its most metaphysical is in this weird aspect of the power of the expert. There are experts who claim they cannot be fooled because they have an inner connection to an artist and can feel whether something is genuine or fake. I've heard experts say, on panels: When it comes to my period, or my painters, I cannot be fooled. And of course that's completely ridiculous.