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.

As soon as you start writing about how human beings interact with each other socially, you're into politics, aren't you?

I was mainly in a state of nervousness while I wrote it - nervousness that it was far bigger and more complicated than anything Id attempted before, and that maybe my talent just wasnt up to it and the book would have to be abandoned, or would turn out not to work at all when it was finished.

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.

It seems to me that you would have to write a novel on a very small, intimate scale for it not to become political.

Writers never feel comfortable having labels attached to them, however accurate they are.

Contemporary Britain seems an endlessly fascinating place to me - but if I knew a little bit more about other places, and other times, maybe it wouldn't.