I like the idea of a big caesura between the narratives, a space which readers can fill in with their own speculative history.

As the books grew bigger and more ambitious, the situations in question sometimes became political ones, and so it became necessary to start painting in the social background on a scale which eventually became panoramic.

Objectivity is just male subjectivity.

The writer I feel the most affinity with - you said you felt my books are 19th century novels, I think they're 18th century novels - is Fielding, Henry Fielding, he's the guy who does it for me.

I'm one of those unlucky people who had a happy childhood.

The biggest markets for my books outside the UK are France and Italy, and those are the two countries where I also have the closest personal relationships with my translators - I don't know whether that's a coincidence, or if there's something to be learned from it.

Sometimes I feel that I am destined always to be offstage whenever the main action occurs. That God has made me the victim of some cosmic practical joke, by assigning me little more than a walk-on part in my own life. Or sometimes I feel that my role is simply to be a spectator to other people's stories, and always to wander away at the most important moment, drifiting into the kitchen to make a cup of tea just as the denouement unfolds.