But it's the particularity of a place, the physical experience of being in a place, that makes it onto the page. That's why I don't just do library research. I very rarely write about somewhere I haven't been.

Critchley and Webster’s fierce, witty exploration of Hamlet makes most other writing about Shakespeare seem simpleminded.

There are things about our world that almost by their nature defy our ability to comprehend them. Some people use a religious register to deal with that - they call it God and that's a way of domesticating it.

I enjoy thinking myself into other times and places. I don't like some of the conventions of the 'historical novel', but I think there's a way of doing it that has a lot of merit.

I realized I had a novel on my hands, but didn't know where it was going to go. So I thought, 'I'm going to do everything that you're not supposed to do when you plan a novel; I'm going to step back and let this thing take itself wherever it wants to go, and I'm not going to worry about how things connect until later on.

In my early teens, science fiction and fantasy had an almost-total hold over my imagination. Their outcast status was part of their appeal.

Intellectuals who live in Hungary, or who wish to work or lecture there, are extremely circumspect in their criticism.