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

Thatcherism has become bigger than she ever was.

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.

But I have always - ever since The Accidental Woman - written novels about individuals attempting to make choices in the context of situations over which they have no control.

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.

I had no sense of any reputation that What a Carve Up! might acquire - at the time I didnt even have a publisher, so my main worry was whether it was even going to see the light of day or not.

Objectivity is just male subjectivity.