In order to have a real life of any romance, there has to be a level of fantasy.

I was born in Australia and grew up in the foreign services. I had this kind of trans-Pacific life. I think I was always sort of oriented towards here's Australia and here's America and here's the Pacific.

That was one of the problems with the Narcissus figure. Here is a face looking at a face, and the problem is the image of the thing is never actually the thing. You try and grab it and it's not there. It's water. It disappears.

In order to have a real life of any romance, there has to be a level of fantasy.

Like a lot of writers, I just got sick to death of conventional fiction. I absolutely couldn't stand the illusion of reality and plot. I just couldn't stomach it.

I do some messing around with things, not necessarily about me but about place and people and the things around.

The state of love is this constant flux back and forth between who's saving and who's rescuing, who's wanting and not wanting, who's needing and who isn't. It's always going back and forth between two people who are actually attached.