There is a kind of mysticism to writing.

It was quite life-affirming, for me, that I felt hat kind of pity for [Margaret Thatcher], because I didn't think I ever would.

In civic life, I think that's where you can debate what is good taste and what is acceptable to other people, and what's gonna offend people. Do that there, but leave it out of art, because art is the one frontier that shouldn't have restraints put on it.

Ah suppose man, ah'm too much ay a perfectionist, ken? It's likesay, if things go a bit dodgy, ah jist cannae be bothered, y'know.

People even split up by text message, they dump each other by text. Everything seems so disposable, so throwaway, but you have to engage with that if you're writing about the modern world. You've also got all these pop references that you feel obligated to make. They're just part of the bricolage of the whole thing, whether or not these are actually significant elements themselves.

The first time I went to West Virginia I was surprised by how poor it was. It was like north India, there's kids running around in bare feet. The white working class has been disenfranchised as well. It's been disenfranchised by the liberal-left as well as the conservative-right. You really have to get people right across America and Britain and Europe and the world as a whole concentrating on the economic issues that affect them, because when you don't have that, you have all these phony, racist and cultural wars, and sexist wars.

It's interesting - you had [George] Osborne crying at [Margaret Tatcher] funeral. She would have been the first person, she would have read these tears as being as fake as the smiles of his predecessors when they knifed her in the back.