[T]he heart is like any other organ, you can weigh it on a scale.

A sea-green sky: lamps blossoming white. This is marginal land: fields of strung wire, of treadless tyres in ditches, fridges dead on their backs, and starving ponies cropping the mud. It is a landscape running with outcasts and escapees, with Afghans, Turks and Kurds: with scapegoats, scarred with bottle and burn marks, limping from the cities with broken ribs. The life forms here are rejects, or anomalies: the cats tipped from speeding cars, and the Heathrow sheep, their fleece clotted with the stench of aviation fuel.

Write a book you'd like to read. If you wouldn't read it, why would anybody else? Don't write for a perceived audience or market. It may well have vanished by the time your book's ready.

Though I have never thought of myself as a book collector, there are shelves in our house browsed so often, on so many rainy winter nights, that the contents have seeped into me as if by osmosis.

For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.

When you become published and become a reviewer, piles of books come along and you are pushed by fashion and what you are commissioned to do.

When you have committed enough words to paper, you feel you have a spine stiff enough to stand up in the wind. But when you stop writing, you find that's all you are - a spine, a row of rattling vertebrae, dried out like an old quill pen.