Of course that is not the whole story, but that is the way with stories; we make them what we will. It's a way of explaining the universe while leaving the universe unexplained, it's a way of keeping it all alive, not boxing it into time.

The Anglo-American tradition is much more linear than the European tradition. If you think about writers like Borges, Calvino, Perec or Marquez, they're not bound in the same sort of way. They don't come out of the classic 19th-century novel, which is where all the problems start. 19th-century novels are fabulous and we should all read them, but we shouldn't write them.

You have to engage with people who are different from you and try to work with their thinking and their mind. That's a real challenge.

I'm always nervous about going home, just as I am nervous about rereading books that have meant a lot to me.

While I can’t have you, I long for you. I am the kind of person who would miss a train or a plane to meet you for coffee. I’d take a taxi across town to see you for ten minutes. I’d wait outside all night if I thought you would open the door in the morning. If you call me and say ‘Will you…’ my answer is ‘Yes’, before your sentence is out. I spin worlds where we could be together. I dream you. For me, imagination and desire are very close.

Working-class families in the north of England used to hear the 1611 Bible regularly at church and at home ... for us, the language didn't seem too difficult. I especially liked 'the quick and the dead' - you really get a feel for the difference if you live in a house with mice and a mousetrap.

I have a list of titles that I leave at the [library] desk, because they are bound to be written some day, and it's best to be ahead of the queue.