I think that's just what happens when you write a big bestseller. After that you need to find out: What's the best way to go on? And the worst thing you could do would be to try to repeat the formula. That would be suffocating.

So the fact that there's someone who's planning what happens to the characters, writing it down, means that the characters always have a fate. And when we think about fate, we tend think of it as the thing we would have if we were literary characters, that is, if there were somebody out there, writing us.

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.

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.

It's also one of these strange points where metaphysics converges with economy. Because really what the experts are doing is creating value by banishing doubt. All great dead painters basically have this one person, this expert who has the metaphysical power to grant a seal of authenticity.

A neglect of one's sentimental education early in life could bear the most unfortunate fruit.

When you translate the American writers who are best with dialogue into German - someone like Elmore Leonard, or Tom Wolfe, who's also quite good with dialogue. It's very hard to translate them well.